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FROM   THE  LIBRARY  OF 

REV.    LOUIS    FITZGERALD    BENSON.  D.  D. 

) 

BEQUEATHED   BY   HIM   TO 

THE  LIBRARY  OF 

PRINCETON  THEOLOGICAL  SEMINARY 


DMsM      ^^^ 


Sectlcd 


Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

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FAVORITE    HYMNS 


"Glory  to  God  in  the  highest,  and  on  earth  peace,  good  will  toward  men." 


Wl         I     li  I  /|f 


o  o 


1932 


FAVORITE  HYMNS 


I  8E^A\^ 


Stories  of  the  Origin,  Authorship, 
and  Use  of  Hymns  We  Love 


WILLIAM  LEE  HUNTON 

EDITOR  OF  "YOUXG  FOLKS,"  ASSOCIATE  EDITOR  OF  "THE  LUTHERAN," 
"THE     LUTHERAN     GRADED      SERIES,"     AND     OTHER     PUBLICATIONS 


ILLUSTRATED 


PHILADELPHIA 

THE  GENERAL  COUNCIL  PUBLICATION  HOUSE 

1917 


Copyright,  191 7,  by  the 

Board  of  Publication  of  the  General  Council 

of  the  Evangelical  Lutheran  Church 

in  North  America 


All  rights  reserved 


To 
EMMA  HOPPE  HUNTON 

My  beloved  wife 

Whose  love  for  and  knowledge  of  the  hymns 
of  the  Church  proved  a  source  of  inspiration  and 
help  in  the  preparation  of  these  stories  of  the 
hymns,   this   volume   is   affectionately  dedicated. 


CONTENTS 


PAGES 

Advent  Hymns 9-14 

O  how  shall  I  receive  Thee? 
On  Jordan's  banks  the  herald's  cry. 
Thou  Judge  of  quick  and  dead. 
Rejoice,  all  ye  believers. 

Our  E.\rliest  Christmas  Hymns i5~2i 

The  Magnificat. 
The  Benedictus. 
The  Gloria  in  Excelsis. 
The  Nunc  Dimittis. 

Well  Known  Christmas  Hymns 22-33 

Angels  from  the  realms  of  glory. 

While  shepherds  watched  their  flocks  by  night. 

Hark!  the  herald-angels  sing. 

Hark !  what  mean  those  holy  voices? 

Sion,  the  marvellous  story  be  telling. 

Good  news  from  heaven  the  angels  bring. 

Away  in  a  manger,  no  crib  for  His  bed. 

O  little  town  of  Bethlehem. 

It  came  upon  the  midnight  clear. 

Calm  on  the  listening  ear  of  night. 

Silent  night!  Holy  night! 

Hymns  tor  the  New  Year 34-42 

How  sweet  the  name  of  Jesus  sounds. 
Jesus !  Name  of  wondrous  love ! 
There  is  no  name  so  sweet  on  earth. 
Our  God,  our  Help  in  ages  past. 
Great  God!  we  sing  that  mighty  Hand. 
O  God  of  Jacob,  by  whose  hand. 
Another  year  is  damning. 
A  few  more  years  shall  roll. 
Brief  life  is  here  our  portion. 
One  sweetly  solemn  thought. 
While  with  ceaseless  course  the  sun, 
Come,  let  us  anew  our  journey  pursue. 


vi  CONTENTS 


PAGES 

Epiphany  Hymns 43-48 

As  with  gladness  men  of  old. 
Songs  of  thankfulness  and  praise. 
Brightest  and  best  of  the  sons  of  the  morning. 
Light  of  the  Gentile  nations. 

Missionary  Hymns 49-56 

From  Greenland's  icy  mountains. 
The  Son  of  God  goes  forth  to  war. 
Jesus  shall  reign  where'er  the  sun. 
Thou,  whose  almighty  word. 
Saviour,  sprinkle  many  nations. 

Hymns  of  Penitence 57-63 

Out  of  the  depths  I  cry  to  Thee. 
God  of  mercy !  God  of  grace ! 
Show  pity,  Lord;  O  Lord!  forgive. 
Just  as  I  am,  without  one  plea. 

Lenten  Hymns 64-74 

Alas !  and  did  my  Saviour  bleed. 
When  I  survey  the  wondrous  Cross. 
Hail,  Thou  once  despised  Jesus! 
Paschal  Lamb  by  God  appointed. 
Jesus,  Hail!  enthroned  in  glory. 
O  sacred  Head,  now  wounded. 
Go  to  dark  Gethsemane. 
Glory  be  to  Jesus. 
In  the  Cross  of  Christ  I  glory. 

Hymns  for  Palm  Sunday 75-83 

All  glory,  praise,  and  honor. 

Ride  on,  ride  on  in  majesty! 

Oh,  help  us,  Lord!  each  hour  of  need. 

When  His  salvation  bringing. 

O  Thou,  who  through  this  holy  week. 

All  hail  the  power  of  Jesus'  name! 

Hail,  holy,  holy,  holy  Lord! 

Easter  Hymns 84-97 

The  strife  is  o'er,  the  battle  done! 

Welcome,  happy  m.orning!  age  to  age  shall  say. 

Christ  Jesus  lay  in  Death's  strong  bands. 

Christ  the  Lord  is  ris'n  today. 

Christ  the  Lord  is  risen  again. 

Christ  the  Lord  is  risen  today. 

The  day  of  Resurrection! 


CONTENTS  vil 


PAGES 

Shepherd  Hymns 98-103 

The  Lord  my  Shepherd  is. 

Saviour,  like  a  shepherd  lead  us. 

I  am  Jesus'  little  lamb. 

I  thirik,  when  I  read  that  sweet  story  of  old. 

Shepherd  of  tender  youth. 

Hymns  of  the  Ascension 104-112 

Conquering  Prince  and  Lord  of  glory. 

A  hymn  of  glory  let  us  sing. 

See  the  Conqueror  mounts  in  triumph. 

Draw  us  to  Thee,  Lord  Jesus. 

Hail  the  day  that  sees  Him  rise. 

Hymns  to  the  Holy  Spirit 113-125 

Come,  Holy  Spirit,  God  and  Lord! 
Now  pray  we  all  God,  the  Comforter. 
Come,  O  come,  Thou  quickening  Spirit. 

0  Holy  Spirit,  enter  in. 

Oh,  enter.  Lord,  Thy  temple. 

Come,  Holy  Ghost,  in  love. 

Come,  Holy  Ghost,  our  souls  inspire. 

Hymns  to  the  Holy  Trinity 126-134 

Holy,  Holy,  Holy!  Lord  God  Ahnighty! 

Lead  us,  heavenly  Father,  lead  us. 

Come,  Thou  almighty  King. 

Hail!  holy,  holy,  holy  Lord. 

Hail,  Father,  Son  and  Holy  Ghost. 

All  glory  be  to  God  on  high. 

Holy  Father,  hear  my  cry. 

Holy,  holy,  holy  Lord. 

May  the  grace  of  Christ  our  Saviour. 

Hymns  of  the  Christian  Life I35""i43 

Jesus,  still  lead  on. 
Jesus,  Thy  Blood  and  Righteousness. 
Guide  me,  O  Thou  great  Jehovah. 
He  leadeth  me!  O  blessed  thought! 
One  sweetly  solemn  thought. 

Hymns  of  Christian  Service 144-149 

A  charge  to  keep  I  have. 
Ye  servants  of  the  Lord. 
We  give  Thee  but  Thine  own. 
Take  my  life  and  let  it  be. 

1  gave  My  life  for  thee. 


viii  CONTENTS 


PAGES 

Morning  Hymns 150-158 

Come,  my  soul,  thou  must  be  waking. 
Jesus,  Sun  of  Righteousness. 
Awake,  my  soul,  and  with  the  sun. 
The  morning  bright. 

Evening  Hhymns 159-168 

Softly  now  the  light  of  day. 
Sun  of  my  soul,  Thou  Saviour  dear. 
Now  hushed  are  woods  and  waters. 
Abide  with  me !  fast  falls  the  eventide. 
Saviour,  breathe  an  evening  blessing. 

A  Hymn  of  Petition  and  a  Hymn  of  Trust 169-175 

Here  behold  me,  as  I  cast  me. 
A  deep  and  holy  awe. 
My  faith  looks  up  to  Thee. 

Luther's  Hymn  Against  the  Turk  and  the  Pope 176-179 

Lord,  keep  us  steadfast  in  Thy  word. 

The  Battle-Hymn  of  Protestantism x8o-i86 

A  Mighty  Fortress  is  our  God. 

Hymns  on  the  Church 187-192 

Glorious  things  of  thee  are  spoken. 

The  Church's  one  foundation. 

I  love  Thy  Zion,  Lord. 

Zion  stands  with  hills  surrounded. 

O  where  are  kings  and  empires  now? 

Christian  War  Hymns 193-201 

Fear  not,  O  little  flock,  the  foe. 
When  in  the  hour  of  utmost  need. 
Onward,  Christian  soldiers. 

Hymns  of  Thanksgiving 202-207 

Now  thank  we  all  our  God. 
Lord  God,  we  worship  Thee! 
Come,  ye  thankful  people,  come. 
Before  the  Lord  we  bow. 

PATiaoTic  Hymns 208-215 

My  country,  'tis  of  thee. 

God  bless  cnir  native  land ! 

Oh,  say,  can  you  sec  by  the  dawn's  early  light. 

Mine  eyes  have  seen  the  glory  of  the  coming  of  the  Lord. 


CONTENTS  IX 


PAGES 

Hymns  of  Comfort 216-224 

My  Jesus,  as  Thou  wilt! 

Commit  thou  all  thy  griefs. 

If  thou  but  suffer  God  to  guide  thee. 

I  would  not  live  alway;  I  ask  not  to  stay. 

Hymns  Concerning  Death  and  Burial 225-231 

Asleep  in  Jesus!  blessed  sleep. 
Jesus  Christ,  my  sure  defence. 
A  pilgrim  and  a  stranger. 
Jerusalem,  the  golden. 

General  Favorites 232-246 

Jesus,  Lover  of  my  soul. 
Rock  of  Ages,  cleft  for  me. 
Nearer,  my  God,  to  Thee. 

The  Te  Deum,  a  Great  International  Anthem 247-252 

We  praise  Thee,  O  God! 

Index  of  First  Lines 255 

Index  of  Persons 259 


ILLUSTRATIONS 


PAGE 

The  Announcement  to  the  Shepherds Frontispiece 

The  ANNUNaATioN 15 

Felix  Mendelssohn 26 

Phtt.tp  Doddridge 38 

Christ  in  the  Temple 43 

Bishop  Heber 51 

Hoffman's  Gethsemane 67 

The  Triumph.\l  Entry 75 

CiL\RLES  Wesley 95 

The  Good  Shepherd 98 

Christ  Blessing  Little  Children 102 

Paul  Gerhardt 119 

Phoebe  Carey 135 

Bishop  Ken 150 

Martin  Luther 182 

John  Newton 187 

GusTAvus  Adolphus 19s 

Francis  Scott  Key 206 

Samuel  Francis  Smith 210 

William  Augustus  Muhlenberg 222 

Augustus  M.  Toplady 239 


PREFACE 


The  writing  of  these  pages  was  an  accident  and  a  pleas- 
ure. An  editorial  emergency  called  forth  the  first  article; 
our  personal  interest  induced  several  others;  then  the  in- 
terest of  our  readers  requested  the  series.  Favorable 
comments  and  the  expressed  desire  of  not  a  few  to  have 
the  articles  in  permanent  form  explain  the  appearance  of 
this  volume. 

As  a  member  of  the  committee  which  had  charge  of 
the  preparation  of  the  new  Lutheran  Common  Service 
Book  with  Hymnal  we  were  led  to  assemble  a  four  foot 
shelf  of  books  on  Liturgies  and  Hymnology  which  vol- 
umes we  have  freely  consulted.  Grateful  acknowledg- 
ment is  here  made  to  the  many  distinguished  writers 
on  hymnology  whose  interesting  and  valuable  writings 
we  have  read  and  compared  and  assimilated.  We  trust 
that  the  work  has  been  done  in  such  a  way  as  to  give  a 
new,  fresh  and  interesting  story  of  a  number  of  the 
Favorite  Hymns  which  are  most  widely  loved  and  used. 

We  hope  that  every  reader  of  these  pages  will  miss  from 
the  incomplete  list  of  Favorite  Hymns  here  treated  some  of 
the  hymns  he  most  dearly  loves,  and  that  his  interest  will 
be  so  aroused  as  to  send  him  to  the  libraries  to  find  the 
same  pleasure  we  have  found  and  which  has  been  our 
personal  profit. 

If  the  reader  is  as  interested  in  the  reading  as  we  were 
in  the  writing  then  these  chapters  will  have  the  fascination 

7 


8  PREFACE 

of  fiction.  We  therefore  send  them  forth  in  the  firm 
belief  that  they  will  prove  helpful  in  making  many  ap- 
preciative of  the  hymns  they  sing  and  able  to  draw 
more  knowledge  and  worship  out  of  the  songs  of  the 
sanctuary. 

William  Lee  Hunton. 

Written  in  the  Quadricentennial  Jubilee 
Year  of  the  Birth  of  Protestantism. 


FAVORITE   HYMNS 


ADVENT  HYMNS 

O   HOW   SH.\LL   I   RECEIVE   THEE? 

Ol  HOW  shall  I  receive  Thee, 
I        How  greet  Thee,  Lord,  aright? 
AH  nations  long  to  see  Thee, 
My  Hope,  my  heart's  dehght! 

0  kindle,  Lord  most  holy, 
Thy  lamp  within  my  breast, 

To  do  in  spirit  lowly 

All  that  may  please  Thee  best. 

Thy  Zion  palms  is  strewing, 

And  branches  fresh  and  fair; 
My  heart,  its  powers  renewing, 

An  anthem  shall  prepare. 
My  soul  puts  oflE  her  sadness 

Thy  glories  to  proclaim; 
With  all  her  strength  and  gladness 

She  fain  would  serve  Thy  name. 

1  lay  in  fetters  groaning, 
Thou  comest  to  set  me  free! 

I  stood,  my  shame  bemoaning, 

Thou  comest  to  honor  me! 
A  glory  Thou  dost  give  me, 

A  treasure  safe  on  high, 
That  will  not  fail  nor  leave  me 

As  eajrthly  riches  fly. 
9 


lO  FAVORITE  HYMNS 

Love  caused  Thy  incarnation, 

Love  brought  Thee  down  to  me. 
Thy  thirst  for  my  salvation 

Procured  my  Hberty. 
O  Love  beyond  all  telling, 

That  led  Thee  to  embrace, 
In  love  all  love  excelling, 
Our  lost  and  fallen  race! 

Rejoice  then,  ye  sad-hearted. 

Who  sit  in  deepest  gloom, 
Who  mourn  o'er  joys  departed, 

And  tremble  at  your  doom; 
He  who  alone  can  cheer  you 

Is  standing  at  the  door; 
He  brings  His  pity  near  you. 

And  bids  you  weep  no  more. 

An  Advent  hymn  which  is  greatly  loved  by  all  who 
appreciate  the  purpose  and  spirit  of  the  Advent  season; 
we  find  in  these  stanzas  prayer,  praise,  theology,  redemp- 
tion, Christian  penitence.  Christian  joy.  The  heart  is 
laid  bare,  so  to  speak,  and  the  Christian  who  with  heart, 
mind  and  voice  sings  this  Advent  hymn  of  prayer  and 
praise  must  certainly  be  ready  to  welcome  the  Saviour  when 
He  comes.  To  this  end  our  first  thought  in  contemplating 
this  hymn  is  to  see  the  beauty,  the  expressiveness  and  the 
fitness  of  its  thought  as  a  hymn  to  begin  the  Advent  season. 

Paul  Gerhardt  is  the  author  of  this  hymn.  He  ranks 
with  Luther  as  one  of  the  most  gifted  and  most  popular 
hymn  writers  of  the  Christian  Church. 

It  will  give  us  a  higher  appreciation  of  the  hymn  to 
know  a  little  of  the  author.  He  was  a  German  poet  of  a 
high  order,  one  whom  the  German  people  loved  and  owned. 
He  was  a  native  of  Saxony,  his  student  life  being  passed 
during  the  time  of  the  Thirty  Years'  War,  at  the  close  of 


ADVENT  HYMNS  II 


which  he  became  a  pastor.  It  was  while  pastor  at  St. 
Nicholas'  Church,  Berlin,  that  be  became  known  as  a 
writer  of  hymns.  He  was  held  in  high  honor  by  the  people 
of  the  city  as  an  eloquent  preacher  and  earnest  pastor. 

In  spite  of  this  fact,  because  of  his  uncompromising 
stand  for  the  Lutheran  doctrine  and  all  that  it  implied 
in  teaching  and  in  li\ing,  he  was,  in  1666,  deposed  from  his 
spiritual  office.  WTien  told  of  it  he  said,  "This  is  only  a 
small  Beriin  affliction;  but  I  am  also  willing  and  ready  to 
seal  vdth  my  blood  the  evangelical  truth,  and,  like  my 
namesake,  St.  Paul,  to  offer  my  neck  to  the  sword." 

Reinstated,  he  again  was  superseded  because  his  con- 
science would  not  let  him  compromise  as  he  was  expected 
to  do.  In  the  midst  of  these  official  trials  he  also  was  called 
upon  to  suffer  family  affliction,  losing  three  children  and 
his  wife  within  a  very  short  time. 

He  later  became  pastor  at  Liibben  and  archdeacon. 
Under  his  picture  in  this  church  there  was  the  inscription 
which  seemed  to  indicate  the  detraction  and  unkindness 
which  he  experienced  during  the  last  seven  years  of  his 
life-  The  inscription,  which  was  in  Latin,  was,  "A  divine 
sifted  in  Satan's  sieve." 

WTien  we  know  this  story,  and  that  out  of  these  experi- 
ences as  the  expression  of  his  innermost  soul  some  of  his 
best  hymns  came,  we  shall  then  love  more  and  understand 
better  those  hymns  of  his  which  it  is  our  pri\dlege  to  have 
and  to  sing  in  our  English  churches. 

These  facts  give  new  meaning  to  the  first,  third  and  fifth 
stanzas.  They  become  so  personal  that  they  will  be  of 
deeper  significance  to  each  and  everyone  who  sings  them. 

It  has  been  well  said  of  Gerhardt  that  he  had  a  firm 
grasp  of  the  objective  realities  of  the  Christian  faith  and 
that  he  manifested  a  loyal  adherence  to  the  doctrinal  stand- 


12  FAVORITE  HYMNS 

point  of  the  Lutheran  Church.  With  it  all  he  is  genuinely 
human  and  takes  a  fresh  and  wholesome  view  of  nature  and 
of  mankind.  This  emphasizes  the  teaching  and  content  of 
the  hymn. 

When  we  see  the  depth  of  soul  and  the  fulness  of  mean- 
ing as  well  as  the  beauty  of  expression  in  a  hymn  such  as 
this  Advent  hymn  of  Paul  Gerhardt,  what  a  rebuke  it 
is  to  those  who  would  use  silly  and  superficial  jingles  and 
think  they  contain  elements  of  worship.  The  advent  of 
our  Saviour  is  worthy  of  the  best  in  poetry  and  music  that 
can  be  found  in  our  hymns. 

A  very  different  type  of  hymn,  but  one  which  is  especially 
appropriate  for  the  opening  of  Advent  and  which  is  a 
general  favorite  is: 

On  Jordan's  banks  the  herald's  cry 
Announces  that  the  Lord  is  nigh; 
Come,  then,  and  hearken,  for  he  brings 
Glad  tidings  from  the  King  of  kings. 

This  hymn,  as  we  have  it,  was  translated  in  1837  by 
John  Chandler  from  the  Latin  of  the  author,  Charles 
Coflin.  The  original  was  written  in  1736.  Simple  in 
statement  of  fact,  confession  and  faith,  it  is  a  hymn- 
prayer,  full  of  unction,  which  is  the  element  which  appeals 
to  the  heart  in  the  Advent  season. 

A  hymn  which  looks  for  the  second  Advent  of  Christ 
and  well  worthy  of  its  popularity  is: 

Thou  Judge  of  quick  and  dead, 

Before  whose  bar  severe. 
With  holy  joy  or  guilty  dread, 

We  all  shall  soon  appear; 
Our  wakened  souls  prepare 

For  that  tremendous  day. 
And  fill  us  now  with  watchful  care, 

And  stir  us  up  to  pray. 


ADVENT  HYMNS  13 


This  hymn  is  from  the  pen  of  Charles  Wesley,  the  **Bard 
of  Methodism,"  who  was  a  prolific  writer  of  hymns,  as  is 
seen  from  the  fact  that  of  seven  hundred  and  seventy 
hymns  in  the  "Wesleyan  Hymn  Book"  six  hundred  and 
twenty-three  are  from  his  pen.  It  is  very  evident  that 
there  cannot  be  as  much  variety  as  there  is  in  the 
Lutheran  books  of  worship,  the  hymns  of  which  are 
drawn  from  many  sources.  The  determining  factor  for 
the  recognition  and  use  of  a  hymn  is  the  evangelical 
character  and  conformity  to  the  high  standard  of  poetic 
form  and  perfect  harmony  with  the  principles  of  faith 
and  worship. 

The  true  joy  of  Advent  is  fittingly  expressed  in  another 
grand  hymn  which  has  come  from  one  of  the  bards  of 
Germany,  Laurentius  Laurenti,  who  has  been  pronounced 
^'one  of  the  best  hymn  writers  of  the  Pietistic  School." 
His  hymns  are,  as  a  rule,  founded  on  the  gospels  for  the 
Sundays  and  festivals  of  the  Church  Year.  They  are 
simple,  spiritual,  full  of  unction  and  educational  as  well  as 
devotional. 

Dr.  Schaff  pronounces  his  Advent  hymn,  which  is  a 
versified  interpretation  of  the  Parable  of  the  Ten  Virgins, 
his  best  hymn.  The  English  translation  which  we  use  is 
from  the  pen  of  Miss  Jane  Borthwick.  It  is  included  in  a 
book  which  she,  with  the  assistance  of  her  sister,  published 
in  1854,  the  title  of  which  is  ''Hymns  from  the  Land  of 
Luther."  Lauren ti's  hymn  is  found  in  a  number  of  the 
very  best  hymn  books  of  the  present  day.  It  is  evidence 
of  the  beauty  and  the  richness  of  our  purely  evangelical 
hymns.  The  hymn  is  so  beautiful  that  we  quote  it  as  it  is 
now  conmionly  used: 


14  FAVORITE  HYMNS 

REJOICE,    ALL   YE   BELLE  VERS 

Rejoice,  all  ye  believers, 

And  let  your  lights  appear! 
The  evening  is  advancing, 

And  darker  night  is  near. 
The  Bridegroom  is  arising, 

And  soon  He  draweth  nigh. 
Up!  pray,  and  watch,  and  wrestle- 

At  midnight  comes  the  cry! 

The  watchers  on  the  mountain 

Proclaim  the  Bridgroom  near; 
Go  meet  Him  as  He  cometh. 

With  heallelujahs  clear. 
The  marriage-feast  is  waiting, 

The  gates  wide  open  stand; 
Up,  up,  ye  heirs  of  glory; 

The  Bridegroom  is  at  hand! 

Ye  saints,  who  here  in  patience 
Your  cross  and  sufferings  bore, 

Shall  live  and  reign  for  ever. 
When  sorrow  is  no  more. 

Around  the  throne  of  glory 
The  Lamb  ye  shall  behold. 

In  triumph  cast  before  Him 
Your  diadems  of  gold! 

Our  Hope  and  Expectation, 

O  Jesus,  now  appear; 
Arise,  Thou  Sun  so  longed  for. 

O'er  this  benighted  sphere! 
With  hearts  and  hands  uplifted. 

We  plead,  O  Lord,  to  see 
The  day  of  earth's  redemption, 

That  brings  us  unto  Thee! 


THE  ANNUNCIATION 


OUR  EARLIEST  CHRISTMAS  HYMNS 


J^^  HE  first  song  of  the  Christian  era  came  from  the 

V^      lips  of  the  Virgin  Mary.     The  greatest  honor  that 

j^SS8     could  be  bestowed  upon  a  woman  was  hers,  for 

she  is  the  destined  mother  of  the  Messiah.    The 

joy  of   her  soul  knows  no  bounds.      Conscious  of    the 

wonderful  thing  which  God  hath  done  for  her,  and  through 

her  for  the  world,  Mary  breaks  the  stillness  of  the  expectant 

hour  with  the  strains  of  the  Magnificat. 

Inspired,  because  of  the  wonderful  thing  which  God 
hath  done  unto  her,  this  humble  maiden  of  Israel  sings  the 
first  Christian  song,  in  the  quiet  of  the  home  of  her  kins- 
woman, Elizabeth,  in  the  hill  country  of  Judea. 

The  circumstances  under  which  this  hymn  was  first 
sung,  its  theme,  its  spirit  and  its  contents  give  to  the 
Magnificat  a  precedence  over  all  the  other  hymns  of  the 
Church. 

Mrs.  Charles  has  well  said  of  this  hymn:  "The  heart 
of  Mary,  like  a  sweet  flower  with  its  cup  turned  up  to  the 
morning  sky,  in  its  lowliness  drank  in  the  light  and  dew 
of  heaven,  and  sent  them  back  in  fragrance;  full  of  God 
and  therefore  full  of  joy.  Yet  her  hymn  is  no  angelic  song, 
no  thanksgiving  of  an  unfallen  spirit  who  looks  on  adoring 
at  the  great  miracle  of  divine  love.  That  human  tone  which 
gives  its  deepest  music  to  the  new  song  of  heaven  is  not 
wanting  in  Mary's.  She  can  say,  'My  Saviour,'  that  she 
also  may  sing  hereafter,  'Thou  wast  slain,  and  hast  re- 
deemed us  by  Thy  blood!'    The  Magnificat  of  the  blessed 

IS 


l6  FAVORITE  HYMNS 

Virgin  is  but  another  strain  in  the  great  song  of  redemp- 
tion." 

If  we  compare  the  Magnificat  with  the  song  of  Hannah, 
recorded  in  the  first  chapter  of  I  Samuel,  we  will  note 
enough  similarity  to  warrant  the  view  that  Mary  must 
have  been  familiar  with  this  Old  Testament  song  to  which 
it  bears  a  close  resemblance. 

There  have  been  a  number  of  attempts  to  put  the 
Magnificat  into  verse,  but  they  are  not  popular,  for  the 
simple  reason  that  nothing  can  surpass  in  beauty  and 
stateliness  the  rhythmical  prose  of  this  chant  as  it  came 
from  the  lips  of  Mary  and  is  recorded  in  the  New  Testa- 
ment. We  are  fortunate  in  having  this  canticle  occupy  an 
important  place  in  our  services.  It  should  be,  in  view  of 
its  origin  and  association  as  the  first  hymn  of  the  Christian 
Church  committed  to  memory  in  our  youth.  The  song 
is  so  rich  in  thought,  so  beautiful  in  its  origin  and  setting 
that,  rightly  understood,  its  frequent  use  wall  necessarily 
deepen  spiritual  life  and  strengthen  the  devotion  of  the 
worshiper. 

THE   MAGNIFICAT 

My  soul  doth  magnify  the  Lord :  and  my  spirit  hath  rejoiced 
in  God  my  Saviour. 

For  He  hath  regarded:  the  low  estate  of  His  handmaiden. 

For  behold,  from  henceforth:  all  generations  shall  call  me 
blessed. 

For  He  that  is  mighty  hath  done  to  me  great  things:  and 
holy  is  His  name. 

And  His  mercy  is  on  them  that  fear  Him:  from  generation 
to  generation. 

He  hath  showed  strength  with  His  arm:  He  hath  scattered 
the  proud  in  the  imagination  of  their  hearts. 

He  hath  put  down  the  mighty  from  their  seats:  and  exalted 
them  of  low  degree. 


OUR  EARLIEST  CHRISTMAS  HYMNS  17 

He  hath  filled  the  hungry  with  good  things:  and  the  rich 
He  hath  sent  empty  away. 

He  hath  holpen  His  servant  Israel,  in  remembrance  of  His 
mercy:  as  He  spake  to  our  fathers,  to  Abraham,  and  to  his 
seed,  for  ever. 

Times  of  unusual  experiences  in  the  religious  life, 
whether  they  are  times  of  trial  or  of  joy,  have  ever  been 
fruitful  in  song.  So  it  is  that  at  the  glad  time  of  the  com- 
ing of  our  Lord  into  the  world  song  succeeds  song.  No 
sooner  do  the  strains  of  the  Magnificat  die  away  than  we 
hear  the  notes  of  another  of  our  beautiful  New  Testament 
canticles,  the  song  ofZacharias  proclaiming  the  advent  of 
John  the  Baptist,  the  forerunner  of  our  Lord. 

A  priest,  as  he  was,  and  inspired  of  the  Holy  Ghost 
to  prophecy,  we  have  in  the  Benedictus,  as  it  comes  from 
the  lips  of  Zacharias,  a  lyric  which,  like  Mary's  song,  has 
passed  into  the  permanent  liturgy  of  the  Church,  and  which 
is  expressive  of  the  devotion  of  every  pious  heart. 

Concerning  this  hymn,  Edersheim  says:  ^'Strictly  Hebrew 
in  its  cast,  and  closely  following  Old  Testament  prophecy, 
it  is  remarkable — and  yet  most  natural — that  this  hymn 
of  the  priest  closely  follows,  and,  if  the  expression  be 
allowable,  spiritualizes  a  great  part  of  the  most  ancient 
Jewish  prayer,  the  so-called  Eighteen  Benedictions;  rather, 
perhaps,  that  it  transforms  the  expectancy  of  that  prayer 
into  praise  of  its  realization.  And  if  we  bear  in  mind  that 
a  great  portion  of  these  prayers  were  said  by  the  priests 
before  the  lot  was  cast  for  incensing,  or  by  the  people  in 
the  time  of  incensing,  it  almost  seems  as  if  during  the  long 
period  of  his  enforced  solitude  the  aged  priest  had  meditated 
on,  and  learned  to  understand,  what  so  often  he  had  re- 
peated." 

How  beautifully  these  chants  link  the  Old  and  the  New 


1 8  FAVORITE  HYMNS 

Covenant  in  thought  in  the  worship,  even  as  He  who  was 
coming  was  fulfilhng  the  Old  and  establishing  the  New 
Covenant,  that  the  two  might  be  bound  together  in  Him, 
the  Center  of  time  as  well  as  of  salvation. 

THE  BENEDICTUS 

Blessed  be  the  Lord  God  of  Israel:  for  He  hath  visited  and 
redeemed  His  people; 

And  hath  raised  up  a  horn  of  salvation  for  us:  in  the  house 
of  His  servant  David; 

As  He  spake  by  the  mouth  of  His  holy  prophets:  which 
have  been  since  the  world  began; 

That  we  should  be  saved  from  our  enemies:  and  from  the 
hand  of  all  that  hate  us; 

To  perform  the  mercy  promised  to  our  fathers:  and  to 
remember  His  holy  covenant; 

The  oath  which  He  sware  to  our  father  Abraham:  that  He 
would  grant  unto  us; 

That  we,  being  delivered  out  of  the  hand  of  our  enemies: 
might  serve  Him  without  fear. 

In  holiness  and  righteousness  before  Him :  all  the  days  of  our 
life. 

And  thou,  child,  shaltbe  called  the  prophet  of  the  Highest :  for 
thou  shalt  go  before  the  face  of  the  Lord  to  prepare  His  ways; 

To  give  knowledge  of  salvation  unto  His  people:  by  the 
remission  of  their  sins. 

Through  the  tender  mercy  of  our  God:  whereby  the  Day- 
spring  from  on  high  hath  visited  us; 

To  give  light  to  them  that  sit  in  darkness  and  in  the  shadow 
of  death :  to  guide  our  feet  into  the  way  of  peace. 

And  now  as  the  Messiah  of  God,  Emmanuel,  Christ  is 
born,  it  is  the  song  of  the  angels  that  we  hear.  The  day  is 
dawning  and  fittingly  the  angels  of  heaven  greet  the  com- 
ing morning  of  the  day  of  redemption.  ''Shepherds  were 
in  the  field  keeping  watch  over  their  flocks  by  night.  And 
lo,  the  angel  of  the  Lord  came  upon  them,  and  the  glory 


OUR  EARLIEST  CHRISTMAS  HYMNS  19 

of  the  Lord  shone  round  about  them.  And  suddenly 
there  was  with  the  angel  a  multitude  of  the  heavenly 
host,  praising  God  and  saying,  'Glory  to  God  in  the 
highest,  and  on  earth  peace,  good  will  toward  men.'  " 

What  a  privilege  to  those  humble  shepherds  to  hear  the 
angel  band  sing  their  ecstatic  hymn  on  the  plains  of 
Bethlehem,  announcing  the  grace  of  heaven  to  our  sin- 
smitten  earth!  Well  has  it  been  called  the  "sweetest 
melody  that  ever  echoed  from  the  skies." 

The  Gloria  in  Excelsis,  as  we  now  have  it  and  use  it  in 
our  public  worship,  is  built  up  as  from  a  foundation  on  this 
angel  song,  which,  when  first  sung,  had  as  its  hearers  the 
adoring  shepherds,  who  were  keeping  their  flocks  on  the 
plains  of  Bethlehem  on  the  night  when  Jesus  was  born  in 
the  manger  of  the  Nativity. 

The  anthem,  which  fully  expressed  the  joy  of  the  angels 
at  the  Nativity,  was  inadequate  to  express  the  feelings  of 
the  Church  that  worshiped  the  Crucified.  For  this  reason 
there  was  a  gradual  evolution  of  the  Gloria  in  Excelsis, 
which,  by  the  end  of  the  fifth  century,  had  been  developed 
into  a  hymn  which,  wdth  but  slight  variation,  is  used 
alike  by  Greek,  Roman  and  Protestant  believers  all  over 
the  world.  Its  use  confirms  the  creed  in  which  we  express 
our  belief  in  the  ''Communion  of  Saints." 

The  seed  of  the  song  is  the  chant  of  the  angels;  the  fruit 
of  its  fuller  expression,  the  communion  of  the  saints  who 
worship  the  Triune  God  who  have  boldness  and  joy 
in  their  approach  through  the  Christ  of  Bethlehem,  the 
Saviour  of  the  world.  Henceforth  we  will  sing  the  "angels' 
anthem"  with  better  understanding  and  find  in  it  an 
unusual  medium  of  true  communion  with  the  angels  and 
the  saints  in  heaven  as  well  as  the  universal  brotherhood  of 
believers  on  earth. 


20  FAVORITE  HYMNS 

THE   GLORIA  IN  EXCELSIS 

Glory  be  to  God  on  high,  and  on  earth  peace,  good  will 
toward  men.  We  praise  Thee,  we  bless  Thee,  we  worship 
Thee,  we  glorify  Thee,  we  give  thanks  to  Thee  for  Thy  great 
glory,  0  Lord  God,  heavenly  King,  God  the  Father  Almighty. 

O  Lord,  the  Only-begotten  Son,  Jesus  Christ;  0  Lord  God, 
Lamb  of  God,  Son  of  the  Father,  that  takest  away  the  sin  of 
the  world,  have  mercy  upon  us.  Thou  that  takest  away  the 
sin  of  the  world,  receive  our  prayer.  Thou  that  sittest  at  the 
right  hand  of  God  the  Father,  have  mercy  upon  us. 

For,  Thou  only  art  holy;  Thou  only  art  the  Lord;  Thou 
only,  O  Christ,  with  the  Holy  Ghost,  art  most  high  in  the 
glory  of  God  the  Father.     Amen. 


Closely  associated  with  the  birth  of  Christ  is  another 
most  beautiful  and  tender  hymn  which  comes  to  us  out  of 
the  word  of  God,  namely,  Simeon's  pathetic  song,  "The 
Nunc  Dimittis."  The  circumstances  of  the  origin  of  this 
canticle  are  most  touching.  Simeon  was  a  devout  man. 
He  had  waited  and  longed  for  the  consolation  of  Israel. 
While  in  the  temple  it  w^as  his  privilege  to  take  the  young 
Child  in  his  arms.  While  he  beheld  the  Christ-child, 
realizing  that  it  was  the  long-hoped-for  consolation  of 
Israel,  the  pent-up  emotions  of  his  soul  were  poured  forth 
in  the  words  of  that  song  which  is  found  in  our  services 
and  is  particularly  expressive  of  the  feeling  of  the  true 
Christian  after  receiving  the  body  and  the  blood  of  Christ 
in  the  sacrament  of  the  altar.  Its  origin  and  first  use,  the 
singer  holding  the  Christ-child  in  his  arms  as  he  sang, 
should  be  kept  in  the  view  of  the  w^orshiper,  who,  as  he 
joins  with  others  in  the  singing  of  this  New  Testament 
canticle  will  have  personal  experience  of  the  joy  and 
benediction  which  were  the  lot  of  Simeon,  its  author,  who 
sang  his  personal  experience  of  salvation. 


OUR  EARLIEST  CHRISTMAS  HYMNS  2i 

THE   NUNC  DIMITTIS 

Lord,  now  lettest  Thou  Thy  servant  depart  in  peace:  ac- 
cording to  Thy  Word; 

For  mine  eyes  have  seen  Thy  salvation:  which  Thou  hast 
prepared  before  the  face  of  all  people; 

A  light  to  lighten  the  Gentiles:  and  the  glory  of  Thy  people 
Israel. 

What  wonderful  hymns  these  are  which,  coming  from 
the  very  scenes  and  times  of  the  Nativity,  have  passed 
down  through  the  ages!  Their  beauty  and  their  sweet- 
ness have  not  been  diminished,  w^hile  their  use  has  con- 
stantly been  on  the  increase. 

As  at  the  first,  giving  expression  to  the  emotions  of  the 
human  heart,  the  Magnificat,  the  Benedictus,  the  Nunc 
Dimittis,  are  sung  today  just  as  they  came  from  the  lips 
of  the  inspired  singers.  The  song  of  the  angels  has  been 
caught  up  by  the  saints  of  the  Church,  and  with  its  lofty 
theme  as  the  nucleus,  there  has  been  developed  a  noble 
song,  a  song  which  links  angels  with  the  common  brother- 
hood of  believers  in  proclaiming  ''Glory  to  God  in  the 
highest,  on  earth  peace,  good  will  toward  men." 

There  is  no  doubt  that  these  songs  were  sung  in  the 
apostolic  and  early  Christian  Church.  They  are  sung  to- 
day in  all  sections  of  the  Church  which  would  emphasize 
the  scriptural  and  evangelical  in  Christian  worship.  It 
is  an  evidence  of  both  the  true  apostolicity  and  catholicity 
of  Christians  for  them  to  love  and  to  use  these  New  Testa- 
ment songs,  which  are  so  closely  associated  with  the  birth 
of  Jesus  the  Saviour. 


WELL  KNOWN  CHRISTMAS  HYMNS 


OF  the  various  elements  of  Christmas  pleasure,  none 
is  more  pure,  real  or  uplifting  than  the  privilege 

71^^^  of  singing  the  old,  familiar  Christmas  hymns 
which  old  and  young  alike  love  and  which  make  us,  once 
again,  all  children.  There  are  great  volumes  of  the  hymns 
of  Christmas.  Some  of  them  are  unworthy  of  their  place, 
but  many  of  them  are  singing  the  old  story  and  the  true 
faith  into  many  joyful  hearts  as  "the  happy  Christmas 


comes  once  more." 


This  singing  for  Christmas  is  an  old  custom  which  has 
heavenly  example  as  its  pattern  and  inspiration,  for  does 
not  Montgomery  tell  us  in  a  hymn  which  we  delight  to 
sing— 

"Angels  from  the  realms  of  glory, 
Wing  your  flight  o'er  all  the  earth; 
Ye  who  sang  creation's  story, 
Now  proclaim  Messiah's  birth." 

It  was  this  fact  which  gave  Nahum  Tate  his  inspi- 
ration and  moved  him  to  write  in  1703,  the  wonderful 
story  of  that  night  on  Bethlehem's  plains  in  a  hymn 
which  has  sent  thousands  singing  joyfully  to  the  Man- 
ger Cradle.  Who  is  not  familiar  with  the  words  which 
helped  to  win  for  him  from  King  William  III  the  title 
of  poet  laureate?  We  refer  to  that  splendid  Christmas 
hymn — 

32 


WELL  KNOWN  CHRISTMAS  HYMNS  23 

WHILE    SHEPHERDS    WATCHED   THEIR   FLOCKS   BY   NIGHT 

While  shepherds  watched  their  flocks  by  night, 

All  seated  on  the  ground, 
The  angel  of  the  Lord  came  down, 

And  glory  shone  around, 
"Fear  not,"  said  he,  for  mighty  dread 

Had  seized  their  troubled  mind; 
"Glad  tidings  of  great  joy  I  bring 

To  you  and  all  mankind." 

"To  you,  in  David's  town,  this  day 

Is  born,  of  David's  line, 
A  Saviour,  who  is  Christ  the  Lord, 

And  this  shall  be  the  sign: 
The  heavenly  babe  you  there  shall  find, 

To  human  view  displayed. 
All  meanly  wrapt  in  swathing-bands. 

And  in  a  manger  laid." 

Thus  spake  the  seraph,  and  forthwith 

Appeared  a  shining  throng 
Of  angels,  praising  God,  who  thus 

Addressed  their  joyful  song: — 
"All  glory  be  to  God  on  high. 

And  to  the  earth  be  peace: 
Good-will,  henceforth,  from  heaven  to  men, 

Begin  and  never  cease." 

Speaking  of  the  angels  and  their  song  makes  us  think 
of  Charles  Wesley's  hymn  for  Christmas  day.  He  wrote 
it  in  1735  and  re\'ised  it  in  1743.  It  has  found  its  way  into 
many  hymnals  and  has  been  so  inseparably  associated  with 
Mendelssohn's  melody  which  bears  his  name  as  to  make 
it  stand  out  as  one  of  the  greatest  of  the  favorite  hymns  for 
the  Christmas  time.  Beautiful  as  are  the  words,  we  can- 
not help  feeling  that  the  music  of  the  great  master,  Mendels- 
sohn, has  done  much  to  sing  into  the  hearts  of  multitudes 


24  FAVORITE  HYMNS 

of  Christians  the  beautiful  Christmas  message  of  the  great 
Methodist  hymn  writer. 

Wesley's  hymn  for  Christmas  day 

Hark!  the  herald-angels  sing, 
"Glory  to  the  new-born  King; 
Peace  on  earth,  and  mercy  mild, 
God  and  sinners  reconciled!" 

Joyful,  all  ye  nations,  rise. 
Join  the  triumph  of  the  skies; 
Universal  Nature,  say, 
Christ  the  Lord  is  born  today! 

Christ,  by  highest  heaven  adored, 
Christ,  the  everlasting  Lord: 
Late  in  time  behold  Him  come, 
Offspring  of  a  virgin's  womb! 

Veiled  in  flesh,  the  Godhead  see. 
Hail  the  incarnate  Deity! 
Pleased  as  Man  with  men  to  appear, 
Jesus,  our  Immanuel,  here! 

Hail,  the  heavenly  Prince  of  Peace, 
Hail,  the  Sun  of  Righteousness! 
Light  and  Hfe  to  all  He  brings, 
Risen  with  heahng  in  His  wings. 

Mild  He  lays  His  glory  by, 
Born  that  man  no  more  may  die; 
Born  to  raise  the  sons  of  earth; 
Born  to  give  them  second  birth. 

Come,  Desire  of  nations,  come, 
Fix  in  us  Thy  humble  home; 
O,  to  all  Thy  self  impart. 
Formed  in  each  believing  heart! 


\ 


WELL  KNOWN  CHRISTMAS  HYMNS  25 

Mendelssohn's  ''Hymn  of  Trust"  has  helped  to  win  a 
place  for  another  familiar  Christmas  hymn  among  the 
great  favorites.     We  refer  to  John  Cawood's  hynm — 

hark!  what  mean  those  holy  voices 

Hark!  what  mean  those  holy  voices 
Sweetly  sounding  through  the  skies? 

Lo!  the  angelic  host  rejoices; 
Heavenly  hallelujahs  rise. 

Listen  to  the  wondrous  story, 

Which  they  chant  in  hymns  of  joy: 

"Glory  in  the  highest,  glory! 
Glory  be  to  God  most  high! 

"Peace  on  earth,  good-will  from  heaven, 

Reaching  far  as  man  is  found; 
Souls  redeemed,  and  sins  forgiven; 

Loud  our  golden  harps  shall  sound. 

"Christ  is  born,  the  great  Anointed; 

Heaven  and  earth  His  praises  sing! 
O  receive  whom  God  appointed 

For  your  Prophet,  Priest,  and  King. 

"Hasten,  mortals,  to  adore  Him; 

Learn  His  Name,  and  taste  His  joy; 
Till  in  Heaven  ye  sing  before  Him, 

Glory  be  to  God  most  high!" 

Let  us  learn  the  wondrous  story 

Of  our  great  Redeemer's  birth; 
Spread  the  brightness  of  His  glory. 

Till  it  cover  all  the  earth. 

Of  the  seventeen  hymns  written  by  Mr.  Cawood,  who 
was  a  man  of  limited  education,  this  is  his  best  and  most 
widely  known  production. 


26  FAVORITE  HYMNS 

Hymns  like  these  which  we  have  just  quoted  prepare 
us  to  sing  William  Augustus  Muhlenberg's  valuable  con- 
tribution to  our  Christmas  collection  of  hymns.  It  is 
a  hymn  in  which  the  echoing  harmonies  of  heaven  touch  a 
responsive  chord  in  our  very  souls.  We  feel  the  power  in 
the  words  and  the  melody  and  are  literally  ready  to  shout 
when  called  to  sing — 

Shout  the  glad  tidings,  exultingly  sing, 
Jerusalem  triumphs,  Messiah  is  King! 

Muhlenberg's  Christmas  hymn 

Sion,  the  marvellous  story  be  telling, 

The  Son  of  the  Highest,  how  lowly  His  birth! 

The  brightest  archangel  in  glory  excelling. 

He  stoops  to  redeem  thee,  He  reigns  upon  earth: 

Chorus. — Shout  the  glad  tidings,  exultingly  sing, 
Jerusalem  triumphs,  Messiah  is  King, 
Messiah  is  King,  Messiah  is  King. 

Tell  how  He  cometh;  from  nation  to  nation. 

The  heart-cheering  news  let  the  earth  echo  round; 

How  free  to  the  faithful  He  offers  salvation. 

How  His  people  with  joy  everlasting  are  crowned. 

Mortals,  your  homage  be  gratefully  bringing. 
And  sweet  let  the  gladsome  hosanna  arise; 

Ye  angels,  the  full  Alleluia  be  singing; 

One  chorus  resound  through  the  earth  and  the  skies. 

The  text  of  this  hymn  has  come  to  us  unaltered  from  the 
pen  of  the  author,  who  is  the  grandson  of  the  Patriarch  of 
the  Lutheran  Church  in  America,  the  Rev.  Henry  Melchior 
Muhlenberg,  D.  D.  He  bore  a  Lutheran  name,  but 
through  attendance  in  English  Sunday  schools  became 
an  Episcopalian  and  carried  his  Lutheran  spirit  into  that 


FELIX  MENDELSSOHN 


WELL  KNOWN  CHRISTMAS  HYMNS  27 

church,  where  he  did  a  wonderful  work  in  the  development 
of  hospital  and  other  benevolent  work  in  New  York  City. 

Martin  Luther,  who  contributed  much  to  the  Reforma- 
tion cause  through  his  hymns,  which  are  known  by  every 
peasant  in  Germany,  and  for  which  in  most  instances  he 
has  furnished  his  ow^n  melody,  has  given  us  one  of  the  very 
best  and  most  meaningful  of  our  Christmas  hymns. 

Luther's  Christmas  hymn 

Good  news  from  heaven  the  angels  bring, 
Glad  tidings  to  the  earth  they  sing: 
To  us  this  day  a  Child  is  given, 
To  crown  us  with  the  joy  of  heaven. 

This  is  the  Christ,  our  God  and  Lord, 
Who  in  all  need  shall  aid  afford; 
He  will  Himself  our  Saviour  be, 
From  all  our  sins  to  set  us  free. 

To  us  that  blessedness  He  brings, 
Which  from  the  Father's  bounty  springs: 
That  in  the  heavenly  realm  we  may 
With  Him  enjoy  eternal  day. 

All  hail!  Thou  noble  Guest,  this  morn. 
Whose  Love  did  not  the  sinner  scorn: 
In  my  distress  Thou  comest  to  me; 
What  thanks  shall  I  return  to  Thee? 

Were  earth  a  thousand  times  as  fair. 
Beset  with  gold  and  jewels  rare, 
She  yet  were  far  too  poor  to  be 
A  narrow  cradle,  Lord,  for  Thee. 

Ah,  dearest  Jesus,  holy  Child, 

Make  Thee  a  bed,  soft,  undefiled, 

Within  my  heart,  that  it  may  be 

A  quiet  chamber  kept  for  Thee.  '    '. 


28  FAVORITE  HYMNS 

Praise  God  upon  His  heavenly  throne, 
Who  gave  to  us  His  only  Son: 
For  this  His  hosts,  on  joyful  wing, 
A  blest  New  Year  of  mercy  sing. 

The  original  of  this  carol,  we  are  told,  Luther  wrote  for 
his  little  son  Hans  when  he  was  only  five  years  old.  It  is 
still  sung  at  daybreak  on  Christmas  morning  by  singers 
standing  in  the  dome  of  the  "Kreuz  Kirche"  in  Dresden. 
Luther  wrote  it  in  1535.  The  translation  which  is  in  most 
common  use  is  by  Miss  Winkworth.  The  music  bears  the 
date  of  1539  and  has  come  down  to  us  with  the  words  as 
one  of  the  glad  notes  of  the  Christmas  time. 

Luther  has  given  us  another  Christmas  hymn — at  least 
it  is  commonly  attributed  to  him — the  ''Cradle  Hymn," 
which  is  a  marvellously  sweet  lullaby.  This  hymn  is  very 
short;  but  it  is  very  dear  to  the  little  ones,  who  without 
exception  soon  learn  to  sing  and  to  love  it. 

A   CHRISTMAS   LULLABY 

Away  in  a  manger,  no  crib  for  His  bed. 

The  little  Lord  Jesus  laid  down  His  sweet  head; 

The  stars  in  the  sky  looked  down  where  He  lay — 
The  little  Lord  Jesus,  asleep  on  the  hay. 

The  cattle  are  lowing,  the  Baby  awakes. 
But  little  Lord  Jesus,  no  crying  He  makes; 

I  love  Thee,  Lord  Jesus.     Look  down  from  the  sky, 
And  stay  by  my  cradle  till  morning  is  nigh. 

The  above  is  distinctly  a  "cradle  hymn."  It  is  so  simple, 
so  evangelical  and  so  beautiful  that  even  if  the  critics 
cannot  agree  as  to  its  authorship,  we  certainly  are  unan- 
imous as  to  its  use. 

The  eminent  Episcopalian,  Phillips  Brooks,  has  made  a 


WELL  KNOWN  CHRISTMAS  HYMNS  29 

valuable  addition  to  our  collection  of  Christmas  hymns  in 
his — 

O   LITTLE   TOWN   OF  BETHLEHEM 

O  little  town  of  Bethlehem 

How  still  we  see  thee  lie; 
Above  thy  deep  and  dreamless  sleep 

The  silent  stars  go  by; 
Yet  in  thy  darkness  shineth 

The  everlasting  Light; 
The  hopes  and  fears  of  all  the  years 

Are  met  in  thee  tonight. 

For  Christ  is  born  of  Mary, 

And  gathered  all  above, 
While  mortals  sleep,  the  angels  keep 

Their  watch  of  wondering  love. 
O  morning  stars,  together 

Proclaim  the  holy  birth! 
And  praises  sing  to  God  our  Kling, 

And  peace  to  men  on  earth. 

How  silently,  how  silently. 

The  wondrous  gift  is  given! 
So  God  imparts  to  human  hearts 

The  blessings  of  His  heaven. 
No  ear  may  hear  His  coming, 

But  in  this  world  of  sin, 
Where  meek  souls  will  receive  Him  still, 

The  dear  Christ  enters  in. 

O  holy  Child  of  Bethlehem! 

Descend  to  us,  we  pray; 
Cast  out  our  sin,  and  enter  in, 

Be  born  in  us  today. 
We  hear  the  Christmas  angels, 

The  great  glad  tidings  tell : 
O  come  to  us,  abide  with  us, 

Our  Lord  Emmanuel! 

The  hymn  was  written  in  1868.    It  is  both  a  tribute  and 


30  FAVORITE  HYMNS 

a  prayer.     Its  poetical  merit  and  devotional  character 
make  it  worthy  of  the  high  favor  in  which  it  stands. 

Another  American  clergyman  has  furnished  us  with  a 
classic  Christmas  hymn.  We  refer  to  the  hymn  by  the  Rev. 
Edwin  Hamilton  Searles,  which,  in  spite  of  the  fact  that  its 
author  was  a  Unitarian  clergyman,  yet  is  a  hymn  in  which 
there  is  a  very  joyful  note  for  the  child  of  faith.  Written 
in  i860,  Mr.  Searle's  words  stir  the  imagination  and  bring 
to  the  ear  and  eye  of  the  singer  most  wonderful  scenes  and 
harmonies  of  heaven. 

A   unitarian's   CHRISTMAS   HYMN 

It  came  upon  the  midnight  clear, 

That  glorious  song  of  old, 
From  angels  bending  near  the  earth, 

To  touch  their  harps  of  gold: 
"Peace  on  the  earth,  good-will  to  men 

From  heaven's  all-gracious  King"; 
The  world  in  solemn  stillness  lay 

To  hear  the  angels  sing. 

Still  through  the  cloven  skies  they  come, 

With  peaceful  wings  unfurled; 
And  still  their  heavenly  music  floats 

O'er  all  the  weary  world. 
Above  its  sad  and  lowly  plains 

They  bend  on  hovering  wing, 
And  ever  o'er  its  Babel  sounds 

The  blessed  angels  sing. 

O  ye,  beneath  life's  crushing  load. 

Whose  forms  are  bending  low, 
Who  toil  along  the  climbing  way 

With  painful  steps  and  slow! 
Look  now,  for  glad  and  golden  hours 

Come  swiftly  on  the  wing; 
O  rest  beside  the  weary  road. 

And  hear  the  angels  sing. 


WELL  KNOWN  CHRIST^L\S  HYMNS  31 

For  lol  the  days  are  hastening  on, 

By  prophets  seen  of  old, 
When  with  the  ever-circling  years, 

Shall  come  the  time  foretold. 
When  the  new  heaven  and  earth  shall  own 

The  Prince  of  Peace  their  King, 
And  the  whole  world  send  back  the  song 

Which  now  the  angels  sing.     Amen. 


Add  to  the  above  his  earlier  Christmas  hymn,  written  in 
1834,  namely, 

"Calm  on  the  Hstening  ear  of  night," 

and  we  have  two  hymns  which  give  to  Mr.  Searles  a  high 
and  deserved  place  among  the  great  American  hymn 
writers.  In  speaking  of  "It  came  upon  the  midnight 
clear,"  Dr.  Duffield  says:  "It  is  absolutely  wedded  to  its 
appropriate  tune."  WTiat  a  mistake  so  many  make  when 
they  give  new"  and  unfamiliar  times  for  old  standard  hymns ! 
On  the  other  hand,  there  are  times  when  old  standard  tunes 
are  \'iolently  torn  from  their  proper  words  and  con- 
nected with  mere  doggerel.  To  do  either  is  to  hinder  wor- 
ship and  is  like  defaming  a  sacred  shrine. 


The  Christmas  hymns  are  almost  without  number,  and 
our  readers  may  add  indefinitely.  We  must,  however,  tell 
the  story  of  one  other  hymn  of  which  many  have  precious 
memories  of  singing  it  in  a  darkened  church  or  home 
while  watching  the  lighting  of  the  Christmas  tree,  which 
found  its  present  beautiful  place  and  use  during  the 
time  of  the  great  Protestant  Reformation.  The  hymn, 
which  was  written  by  Joseph  Mohr  in  181 8,  is  the  well 
known — 


32  FAVORITE  HYMNS 

SILENT   NIGHT 

Silent  night!  Holy  night! 

All  is  calm,  all  is  bright, 
Round  yon  Virgin  Mother  and  child! 
Holy  Infant,  so  tender  and  mild, 

II  :  Sleep  in  heavenly  peace:|| 

Silent  night!  Holy  night! 
Shepherds  quake  at  the  sight! 
Glories  stream  from  Heaven  afar, 
Heavenly  hosts  sing  Alleluia, 

II  :  Christ,  the  Saviour,  is  born!  :  || 

Silent  night!  Holy  night! 
Son  of  God,  love's  pure  light 
Radiant  beams  from  Thy  holy  Face, 
With  the  dawn  of  redeeming  grace, 
II  :  Jesus,  Lord,  at  Thy  birth.  :  || 

The  story  of  the  origin  of  this  hymn  is  beautiful.  It 
was  a  clear,  starry  Christmas  Eve.  Everything  was 
joyful  and  festive  save  in  the  home  of  Joseph  Mohr, 
where  there  was  great  sorrow,  for  on  that  day  the  wife  and 
mother  had  gone  to  celebrate  Christmas  in  heaven.  All 
was  sadness.  Mr.  Mohr  sat  with  bowed  head.  Going  to 
a  window  he  looked  out  upon  the  snow-clad  nature,  while 
in  an  adjoining  room  he  could  see  his  little  motherless 
children  quietly  sleeping.  A  sigh  came  to  his  lips  as  he 
thought  of  the  Christmas  without  the  mother.  Just  then 
he  heard  merry  voices  singing  the  very  songs  he  and  his 
wife  and  the  children  were  wont  to  sing.  The  thought 
rushed  in  upon  him  that  she  was  singing  them  and  blending 
her  voice  with  the  angels.  Musing  thus,  he  was  impressed 
with  the  quiet  beauty  of  the  night.  He  turned  quickly, 
sat  down  and  in  a  few  moments  penned  his  now  famous 


WELL  KNOWN  CHRISTMAS  HYMNS  33 

"Stille  Nacht."  As  soon  as  it  was  written  he  handed  it 
to  his  organist  who  was  keeping  vigil  with  him,  a  Mr. 
Gruber,  and  with  a  choking  voice  said,  "Go,  friend,  make 
music  to  this  and  bring  it  to  me."  He  went  into  the  church 
and  sat  at  the  organ.  In  the  morning  he  called  together 
his  choir  and  rehearsed  the  melody,  which  floated  out  from 
the  church  choir  loft  on  that  Christmas  day  for  the  first 
time. 

Made  in  the  night,  it  seemed  to  the  congregation,  as  it 
should  seem  to  us,  as  if  the  angels  themselves  had  infused 
their  own  spirit  into  writer,  composer  and  singers.  This 
beautiful  song  is  simg  wherever  Christmas  is  kept  in  the 
good  old  way.  It  is  seldom  that  it  does  not  bring  to  the 
hearts  of  those  who  listen  a  measure  of  the  same  feeling 
which  Gruber's  choir  awoke  in  the  good  people  of  old 
Salzburg  that  Christmas  morning  so  long  ago. 


a 


mvjj 


HYMNS  FOR  THE  NEW  YEAR 

EW  YEAR'S  DAY  is  the  "Octave  of  Christmas." 
It  is  the  day  of  the  circumcision  and  the  naming 
of  the  child  Jesus.     In  the  Christian  year  this 
fact  dominates  the  day.     Hence  it  is  that  Keble 
emphasizes  this  thought  in  his  hymn,  in  which  the  cir- 
cumcision of  Christ  is  the  figure  under  which  the  course  of 
human  Ufe  is  pictured. 

In  thinking  of  the  name  of  Jesus  one  of  the  first  hymns 
which  comes  to  mind  is  that  of  John  Newton,  of  which  the 
two  opening  lines  are: 

"How  sweet  the  name  of  Jesus  sounds 
In  a  believer's  ear." 

This  tribute  to  the  name  of  Jesus  will  be  given  added 
significance  in  our  use  of  it  when  we  know  that  the  author 
in  his  early  life  was  very  wild,  and  cursed  and  blasphemed 
in  the  most  shocking  manner.  He  followed  the  sea  and 
literally  swore  like  a  sailor,  was  captured  by  slave  dealers, 
became  a  slave  dealer  himself,  and,  after  a  narrow  escape 
from  shipwreck,  came  to  his  senses,  confessed  his  sins,  and, 
when  thirty-nine  years  of  age,  was  ordained  a  clergyman  of 
the  Church  of  England.  Knowing  these  facts,  we  will 
value  the  tribute  to  the  name  of  Jesus,  probably  para- 
phrased from  an  old  Latin  hymn  of  St.  Bernard,  but  made 
to  express  the  inner  conviction  of  a  truly  converted  sailor. 

Bishop  How  has  paid  high  tribute  to  the  name  of  Jesus 
in  one  of  the  several  hymns  which  he  has  contributed  to 

34 


HYMNS  FOR  THE  NEW  YEAR  35 

the    common    hymnology    of    the    Evangelical    Church. 
This  hymn,  which  was  written  in  1854,  has  as  its  opening 

verse: 

Jesus!  Name  of  wondrous  love! 
Name  all  other  names  above! 
Name  at  which  must  every  knee 
Bow  in  deep  humility. 

A  hymn  which  has  not  yet  found  its  way  into  the  church 
hymnals,  but  which  is  loved  by  nearly  all  young  people,  and 
by  some  older  ones  too,  comes  from  the  pen  of  an  American 
poet,  the  late  George  W.  Bethune.  It  is  a  tribute  to  the 
name  and  work  of  Jesus,  which,  with  its  appropriate 
melody  "Barnby,"  is  most  pleasing  in  thought  as  wtII  as 
in  its  rhythm  and  music.  The  hymn  is  written  in  four-line 
stanzas  with  a  chorus,  the  first  verse  and  chorus  being: 

There  is  no  name  so  sweet  on  earth 

No  name  so  dear  in  heaven, 
As  that  before  His  wondrous  birth 

To  Christ  the  Saviour  given. 

Chorus 

We  love  to  sing  around  our  King, 

And  hail  Him  blessed  Jesus! 
For  there's  no  word  ear  ever  heard 

So  dear,  so  sweet  as  Jesus! 

Turning  to  the  day  as  marking  the  opening  of  the  year, 
a  most  appropriate  religious  sentiment  is  found  in  that 
hymn  from  the  pen  of  Isaac  Watts,  which  is  a  versification 
of  the  ninetieth  psalm.  The  sentiment  is  divine,  the 
versification  so  well  done  that  the  hymn  must  live  and  grow 
in  favor  as  Christians  add  experience  and  years  to  their 
earthly  lives. 


36  FAVORITE  HYMNS 

watt's  ninetieth  psalm 

Our  God,  our  Help  in  ages  past, 
Our  Hope  for  years  to  come; 

Our  Shelter  from  the  stormy  blast, 
And  our  eternal  Home. 

Under  the  shadow  of  Thy  throne 
Thy  saints  have  dwelt  secure; 

SuflScient  is  Thine  arm  alone. 
And  our  defence  is  sure. 

Before  the  hills  in  order  stood, 
Or  earth  received  her  frame. 

From  everlasting  Thou  art  God, 
To  endless  years  the  same. 

Thy  word  commands  our  flesh  to  dust: 
''Return,  ye  sons  of  men"; 

All  nations  rose  from  earth  at  first, 
And  turn  to  earth  again. 

Time,  like  an  ever-rolling  stream. 

Bears  all  its  sons  away; 
They  fly  forgotten,  as  a  dream 

Dies  at  the  opening  day. 

Like  flowery  fields  the  nations  stand. 
Pleased  with  the  morning  Hght : 

The  flowers  beneath  the  mower's  hand 
Lie  withering  ere  'tis  night. 

Our  God,  our  Help  in  ages  past, 
Our  Hope  for  years  to  come. 

Be  Thou  our  Guard  while  troubles  last, 
And  our  eternal  Home. 


The  Rev.  Philip  Doddridge,  D.D.,  a  clergyman  of  the 
Church  of  England,  has  furnished  two  hymns  which  are  in 


H\'MNS  FOR  THE  NEW  YEAR  37 

favor  and  especially  appropriate  at  the  opening  of  the 
New  Year.  The  one  hymn  is  distincti^'ely  a  hymn  for 
the  new  year.  It  is  expressive  of  gratitude  for  past  guid- 
ance, for  divine  blessing  and  protection,  and  a  prayer  for 
God's  mercy  and  help  as  well  as  an  expression  of  implicit 
trust.    As  a  New  Year  sentiment  we  quote  it  in  full: 

DR.  Doddridge's  new  year  hymn 

"Great  God!  we  sing  that  mighty  Hand, 
By  which  supported  still  we  stand: 
The  opening  year  Thy  mercy  shows; 
Let  mercy  crown  it,  till  it  close. 

"By  day,  by  night,  at  home,  abroad, 
Still  we  are  guarded  by  our  God, 
By  His  incessant  bounty  fed, 
By  His  unerring  counsel  led. 

"With  grateful  hearts  the  past  we  own; 
The  future,  all  to  us  unknown, 
We  to  Thy  guardian  care  commit. 
And,  peaceful,  leave  before  Thy  feet. 

"In  scenes  exalted  or  depressed. 
Be  Thou  our  joy,  and  Thou  our  rest; 
Thy  goodness  all  our  hopes  shall  raise. 
Adored  through  all  our  changing  days. 

"When  death  shall  interrupt  our  songs. 
And  seal  in  silence  mortal  tongues, 
Our  Helper,  God,  in  whom  we  trust. 
In  better  worlds  our  souls  shall  boast." 

Another  hymn,  also  by  Dr.  Doddridge,  appropriate  to 
the  season,  which  is  \irtually  a  prayer  to  God  to  guide 
and  protect  and  continue  to  bless  with  the  bounties  of  His 
hand,  is  a  hymn  of  pro\ddence  appropriate  at  any  season. 


38  FAVORITE  HYMNS 

It  is  a  hymn  which  is  especially  cheering  and  faith-inspiring 
when  in  trial  or  trouble  of  any  kind.  Our  appreciation  of 
it  will  be  increased  by  knowing  that  it  was  a  favorite  hymn 
of  Livingstone,  the  explorer.  He  declares  that  it  often 
cheered  him  in  his  African  wanderings.  It  was  sung  at  his 
funeral  as  his  body  was  being  laid  to  rest  in  the  famous 
Westminster  Abbey.  The  hymn  is  popular  because  it 
most  beautifully  and  forcefully  speaks  the  religious  expe- 
rience of  a  rugged  race. 

A  PRAYER   TO   THE   GOD   OF   JACOB 

"O  God  of  Jacob,  by  whose  hand 
Thy  people  still  are  fed; 
Who,  through  this  weary  pilgrimage, 
Hast  all  our  fathers  led! 

"To  Thee  our  humble  vows  we  raise, 
To  Thee  address  our  prayer; 
And  in  Thy  kind  and  faithful  breast 
Deposit  all  our  care. 

"Through  each  perplexing  path  of  life 
Our  wandering  footsteps  guide; 
Give  us  by  day  our  daily  bread. 
And  raiment  fit  provide. 

"O  spread  Thy  covering  wings  around, 
Till  all  our  wanderings  cease; 
And  at  our  Father's  loved  abode 
Our  souls  arrive  in  peace. 

"To  Thee,  as  to  our  covenant  God, 
We'll  our  whole  selves  resign; 
And  thankful  own,  that  all  we  are. 
And  all  we  have,  is  Thine." 

Frances  Ridley  Havergal  has  given  us  a  most  ap- 


PHILIP  DODDRIDGE 


H\^MNS  FOR  THE  NEW  YEAR  39 

propriate  prayer  for  the  opening  year.  Written  in  1874, 
it  is  becoming  well  known  and  is  already  in  extensive  use. 
Miss  Havergal's  ^v^itings  were  published  under  the  title, 
"Poetical  Works  of  Miss  Havergal,"  in  two  volumes  in 
1884.     They  have  found  place  among  meritorious  poetry. 

MISS  havxrcal's  new  year  prayer 

''Another  year  is  dawning, 
Dear  Master,  let  it  be, 
In  working  or  in  waiting. 
Another  year  with  Thee. 

"Another  year  of  mercies, 
Of  faithfulness  and  grace; 
Another  year  of  gladness 
In  the  shining  of  Thy  face. 

"Another  year  of  progress, 
Another  year  of  praise. 
Another  year  of  pro\ing 
Thy  presence  all  the  days. 

"Another  year  of  ser\'ice. 
Or  witness  for  Thy  love; 
Another  year  of  training 
For  hoHer  works  above. 

"Another  year  is  dawning, 
Dear  Master,  let  it  be. 
On  earth  or  else  in  heaven. 
Another  year  for  Thee!" 

The  brevity  of  life  and  the  approach  of  the  Christian 
toward  heaven  are  proper  themes  for  the  new  year.  A 
standard  hymn  expressive  of  this  thought  is  from  the 
pen  of  the  author  of  "Hymns  of  Faith  and  Hope,"  which 
have  demonstrated  their  title  to  many  a  godly  saint  on 


40  FAVORITE  HYMNS 

this  earth.  We  refer  to  that  hymn  written  by  Dr.  Horatius 
Bonar  in  1842,  or  forty  years  before  his  death,  the  title  of 
which  is: 

A  FEW  MORE  YEARS  SHALL  ROLL 

"A  few  more  years  shall  roll, 

A  few  more  seasons  come, 
And  we  shall  be  with  those  that  rest, 

Asleep  within  the  tomb: 

Then,  O  my  Lord,  prepare 

My  soul  for  that  great  day; 
O  wash  me  in  Thy  precious  Blood, 

And  take  my  sins  away! 

"A  few  more  storms  shall  beat 

On  this  wild,  rocky  shore, 
And  we  shall  be  where  tempests  cease, 

And  surges  swell  no  more. 

A  few  more  struggles  here, 

A  few  more  partings  o'er, 
A  few  more  toils,  a  few  more  tears, 

And  we  shall  weep  no  more. 

"'Tis  but  a  httle  while 

And  He  shall  come  again. 
Who  died  that  we  might  live,  who  lives 

That  we  with  Him  may  reign: 

Then,  O  my  Lord,  prepare 

My  soul  for  that  glad  day; 
O  wash  me  in  Thy  precious  Blood, 

And  take  my  sins  away!" 

Out  of  three  thousand  lines  of  a  satire  written  by  Bernard, 
a  monk  of  Cluny,  in  the  twelfth  century,  Dr.  John  Mason 
Neale  has  drawn  three  hymns  which  he  has  translated  and 
which  have  become  very  popular.  It  is  significant  of  the 
difference  between  the  centuries  that  the  twelfth  century 
satirist  is  overwhelmed  by  the  awe  of  heaven  and  the  horror 


HYMNS  FOR  THE  NEW  YEAR  41 

of  hell,  while  the  nineteenth  century  singer  has  so  adapted 

his  verses  as  to  make  them  sing  exultantly  of  heaven  alone. 

It   is   the   evangelical   minister   as   contrasted   with   the 

austere  monk.     Of  these  hymns  we  note  that  which  is 

appropriate  as  a  new  year  selection,  of  which  the  first 

verse  is : 

''Brief  life  is  here  our  portion: 
Brief  sorrow,  short-lived  care; 
The  Life  that  knows  no  ending, 

The  tearless  Life,  is  there. 
0  happy  retribution! 

Short  toil,  eternal  rest, 
For  mortals  and  for  sinners 
A  mansion  with  the  blest!" 

It  is  left  to  a  woman  to  give  us  the  hymn  which  we 
mention  as  especially  expressive  of  the  thought  of  the 
Christian  on  New  Year's  Day.  Phoebe  Gary  has  expressed 
the  hfe,  the  faith,  and  the  hope  of  the  true  Christian  most 
beautifully  in  her  hymn,  which  has  found  its  way  into 
many  books  and  into  multitudes  of  human  hearts.  She, 
with  her  sister,  has  contributed  largely  to  America's  ad- 
dition to  sacred  lyrics.  A  critic  has  pointed  to  the 
one  by  Phoebe,  to  which  we  have  just  referred,  as 
especially  beautiful,  and  which  we  quote  under  "H^ums 
of  the  Christian  Life,"  namely,  her  hymn  of  which 
the  first  verse  is: 

"One  sweetly  solemn  thought 
Comes  to  me  o'er  and  o'er — 
I  am  nearer  home  today 

Than  I  have  ever  been  before." 

John  Newton,  whose  hymn  on  the  name  of  Jesus 
introduced  the  churchly  side  of  the  day,  has  given  us 


42  FAVORITE  HYMNS 

also  a  representative  New  Year  hymn  which  is  partic- 
ularly solemn  and  fitting  when  used  on  the  last  evening 
of  the  year  or  on  New  Year's  Eve.  This  hymn,  when 
sung  to  that  most  appropriate  tune  given  to  it  in  Sam- 
uel Webbe's  "Benevento,"  is  most  wonderfully  impress- 
ive.   We  refer  to  the  hymn  of  which  the  first  stanza  is: 

''While  with  ceaseless  course  the  sun 

Hasted  through  the  former  year, 
Many  souls  their  race  have  run, 

Never  more  to  meet  us  here; 
Fixed  in  an  eternal  state, 

They  have  done  with  all  below, 
We  a  little  longer  wait, 

But  how  little,  none  can  know." 

In  striking  contrast  with  this  is  Charles  Wesley's 
hymn,  which  has  been  styled  a  voice  at  the  next  year's 
threshold,  and  which  inspires  the  singer  to  anticipate 
Hfe  and  plan  for  the  future.    We  quote  the  first  stanza: 

"Come,  let  us  anew  our  journey  pursue, 

Roll  round  with  the  year 
And  never  stand  still  till  the  Master  appear. 
His  adorable  will  let  us  gladly  fulfil 

And  our  talents  improve 
By  the  patience  of  hope  and  the  labor  of  love.'* 


9 

C 

a 

c 
a 

c 

c 
a 


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c 

3 


:5 


"a 


EPIPHANY  HYMNS 


0Pn*HANY,  one  of  the  oldest  of  the  Christian  fes- 
tivals, is  the  generally  accepted  festival  today  for 
^^  commemorating  the  manifesting  of  Christ  to  the 
three  Wise  Men  of  the  East.  As  these  Wise  Men 
were  Gentiles  and  heathen,  the  festival  and  the  season 
have  more  and  more  come  to  be  recognized  among  us  as 
the  time  when  Christian  people  lay  to  heart  the  extending 
of  the  knowledge  of  the  newborn  Saviour  to  the  heathen 
world. 

The  festival  of  the  Epiphany  itself  always  falls  on  Janu- 
ary 6th,  which  is  the  twelfth  day  after  Christmas.  It  origin- 
ally was  the  festival  of  the  Nativity,  and  was  looked  upon 
as  the  feast  of  the  manifestation  of  Christ  to  man,  which 
took  place  at  His  baptism  and  not  at  His  birth,  the  nativity 
originally  being  observed  only  as  an  introduction  to  His 
epiphany. 

When  we  know  these  facts  we  will  readily  understand 
the  beautiful  blending  of  the  Christmas  and  the  missionary 
idea  in  some  of  the  most  appropriate  hymns  of  the  Epiph- 
any. 

A  hymn  which  very  naturally  comes  to  mind  when  we 
think  of  this  festival  is  the  product  of  the  pen  of  a  layman, 
William  Chatterton  Dix,  a  man  trained  for  mercantile 
life  and  who  held  a  position  in  a  marine  insurance  office  at 
the  time  when  he  wrote  several  hymns  which  rank  high 
among  modern  examples  of  hymnody.  He  wrote  his 
Epiphany  hymn  in  i860.  We  quote  three  stanzas,  the 
remaining  being  a  prayer  for  guidance  and  light  from  Christ 

43 


44  FAVORITE  HYMNS 

A  layman's  epiphany  hymn 
As  with  gladness  men  of  old 
Did  the  guiding  star  behold; 
As  with  joy  they  hailed  its  light, 
Leading  onward,  beaming  bright; 
So,  most  gracious  God,  may  we 
Evermore  be  led  by  Thee. 

As  with  joyful  steps  they  sped 
To  that  lowly  manger-bed, 
There  to  bend  the  knee  before 
Him  w^hom  heaven  and  earth  adore; 
So  may  we,  with  wiUing  feet, 
Ever  seek  Thy  mercy-seat. 

As  they  offered  gifts  most  rare 
At  that  manger  rude  and  bare; 
So  may  we,  with  holy  joy. 
Pure  and  free  from  sin's  alloy. 
All  our  costliest  treasures  bring, 
Christ,  to  Thee,  our  heavenly  King. 

The  beauty  of  the  Church  Year  is  that  it  provides  for 
the  presentation  of  every  phase  of  the  life  and  the  teachings 
of  Christ.  Bishop  Wordsw^orth,  w^ho,  like  Luther,  looked 
upon  hymns  as  a  valuable  means  of  stamping  permanently 
upon  the  memory  the  great  doctrines  of  the  Christian 
Church,  has  beautifully  demonstrated  the  truth  of  these 
facts  in  a  book  of  hymns  called  "The  Holy  Year."  An  ex- 
cellent illustration  of  the  fitness  and  the  instructive 
character  of  such  hymns  is  his  hymn  in  which  he  recapitu- 
lates the  themes  of  the  Epiphany  season  and  shows  how 
these  are  preparatory  to  that  future  great  and  glorious 
Epiphany  of  Christ  when  He  shall  be  manifested  to  all  as 
the  Judge  of  the  world.  A  careful  reading  of  the  verses  of 
this  hymn  will  illustrate  the  educational  value  of  it. 


EPIPHANY  HYMNS  45 

BISHOP  Wordsworth's  epiphany  hymn 

Songs  of  thankfulness  and  praise, 
Jesus,  Lord,  to  Thee  we  raise, 
Manifested  by  the  star 
To  the  sages  from  afar; 
Branch  of  Royal  David's  stem, 
In  Thy  birth  at  Bethlehem; 
Anthems  be  to  Thee  addrest, 
God  in  man  made  manifest. 

Manifest  at  Jordan's  stream. 
Prophet,  Priest  and  King  supreme; 
And  at  Cana,  wedding-guest, 
In  Thy  Godhead  manifest; 
Manifest  in  power  divine, 
Changing  water  into  wine; 
Anthems  be  to  Thee  addrest, 
God  in  man  made  manifest. 

Manifest  in  making  whole 
Palsied  limbs  and  fainting  soul; 
Manifest  in  valiant  fight. 
Queuing  all  the  devil's  might; 
Manifest  in  gracious  will. 
Ever  bringing  good  from  ill ; 
Anthems  be  to  Thee  addrest, 
God  in  man  made  manifest. 

Grant  us  grace  to  see  Thee,  Lord, 
Present  in  Thy  holy  word; 
May  we  imitate  Thee  now. 
And  be  pure,  as  pure  art  Thou; 
That  we  like  to  Thee  may  be. 
At  Thy  great  Epiphany; 
And  may  praise  Thee,  ever  blest, 
God  in  man  made  manifest. 

Bishop  Heber  in  181 1  wrote  a  hymn  v/hich,  although 
criticised  as  to  its  words  as  well  as  its  melody,  has  attained 


46  FAVORITE  HYMNS 


great  favor  among  many  Christian  people.  We  refer  to 
that  hymn  which  is  full  of  imagery  and  expressive  of 
liveliest  devotion,  namely; 

"Brightest  and  best  of  the  sons  of  the  morning, 
Dawn  on  our  darkness  and  lend  us  Thine  aid; 
Star  of  the  east,  the  horizon  adorning, 

Guide  where  our  infant  Redeemer  is  laid." 

A  fine  illustration  of  the  combination  of  the  Epiphany 
fact  with  the  principle  of  personal  consecration  is  seen  in 
that  Epiphany  hymn  from  the  German,  which  was  written 
by  Johann  Franck  in  A.  D.  1669.  The  hymn  is  based  on 
the  account  of  the  presentation  in  the  temple,  as  recorded 
in  the  second  chapter  of  St.  Luke.  Critics  have  pronounced 
this  "the  finest  hymn  on  the  subject  of  the  Epiphany." 

JOHANN  FRANCK's   EPIPHANY  HYMN 

Light  of  the  Gentile  nations, 

Thy  people's  joy  and  love! 
Drawn  by  Thy  Spirit  hither, 

We  gladly  come  to  prove 
Thy  presence  in  Thy  temple, 

And  wait  with  earnest  mind, 
As  Simeon  once  had  waited 

His  Saviour  God  to  find. 

Yes,  Lord,  Thy  servants  meet  Thee, 

Even  now,  in  every  place 
Where  Thy  true  word  hath  promised 

That  they  should  see  thy  face. 
Thou  yet  wilt  gently  grant  us. 

Who  gather  round  Thee  here, 
In  faith's  strong  arms  to  bear  Thee, 

As  once  that  aged  seer, 


EPIPHANY  HYMNS  47 

Be  Thou  our  Joy,  our  Brightness, 

That  shines  'mid  pain  and  loss, 
Our  Sun  in  times  of  terror, 

The  glory  round  our  cross; 
A  glow  in  sinking  spirits, 

A  sunbeam  in  distress, 
Physician,  Friend  in  sickness, 

In  death  our  happiness. 

Let  us,  O  Lord,  be  faithful 

With  Simeon  to  the  end. 
That  so  his  dying  song  may 

From  all  our  hearts  ascend: 
"O  Lord,  let  now  Thy  servant 

Depart  in  peace  for  aye. 
Since  I  have  seen  my  Saviour, 

Have  here  beheld  His  day." 

My  Saviour,  I  behold  Thee 

Now  with  the  eye  of  faith, 
No  foe  of  Thee  can  rob  me, 

Though  bitter  words  he  saith. 
Within  Thy  heart  abiding. 

As  Thou  dost  dwell  in  me, 
No  pain,  no  death  hath  terrors 

To  part  my  soul  from  Thee! 

It  is  interesting  to  note,  since  we  have  read  this  hymn 
and  observed  its  devotional  spirit  and  beauty  of  thought, 
that  its  author,  like  the  writer  of  "As  with  gladness  men  of 
old,"  was  a  layman.  Johann  Franck  was  a  lawyer  at 
Guben,  Brandenburg,  Germany.  He  was  a  student  at  the 
University  of  Koenigsburg  during  the  time  of  the  Thirty 
Years'  War.  His  religious  spirit  and  his  devotion  to  his 
mother  prevented  him  from  sharing  in  the  excesses  of  his 
fellow-students,  and  were  responsible  for  his  return  to  his 
home,  where  he  held  places  of  trust  and  usefulness  among 


48  FAVORITE  HYMNS 


his  fellow-citizens.  He  was  a  man  of  unfeigned  and  firm 
faith  and  personal  piety,  characteristics  which  are  re- 
flected in  his  hymns.  He  held  such  high  place  among  his 
fellow-to\ATismen  that  on  the  occasion  of  the  bicentennial 
of  his  death,  June  i8,  1877,  the  people  of  Guben  thought 
him  worthy  of  a  memorial  tablet,  which  was  given  a  place 
of  honor  on  the  outer  wall  of  the  Stadtkirche  of  Guben. 
He  is  an  illustration  to  our  boys  that  to  refrain  from  indulg- 
ing in  college  excesses  is  not  a  hindrance  to  future  dis- 
tinguished usefulness.  He  is  also,  as  a  pious  and  success- 
ful lawyer  who  has  contributed  materially  to  the  permanent 
hymnology  of  the  Church,  a  man  worthy  to  be  kept  in  the 
minds  of  all  Christian  laymen.  We  do  well  to  think  of 
the  man  whose  words  we  sing  when  we  sing,  "Herr  Jesu, 
Licht  der  Heiden." 


MISSIONARY  HYMNS 


OINE  of  our  best  missionaty  hymns  was  written  over 
I  night.  It  came  as  an  inspiration  from  a  soul  afire 
^  with  the  missionary  spirit.  The  story  of  its 
origin  is  most  interesting,  and  illustrates  well 
how  a  true  hymn  breathes  the  soul  of  the  singer.  The 
hymn  to  which  we  refer  is  so  universally  popular  that 
a  missionary  service  toda}^  if  it  is  not  sung,  seems  incom- 
plete. The  hymn,  which  was  wTitten  by  Bishop  Heber, 
in  1 819,  is  such  a  general  favorite  that  few  active  Christians 
do  not  have  its  lines  committed  to  memor>^  Yet  we  quote 
it  in  its  fulness  for  the  missionary  message  which  it  carries 
^^ith  it. 


BISHOP   HEBER's   great   MISSIONARY  HYMN 

From  Greenland's  icy  mountains. 

From  India's  coral  strand; 
Where  Afric's  sunny  fountains 

Roll  down  their  golden  sand; 
From  many  an  ancient  river, 

From  many  a  palmy  plain. 
They  call  us  to  deliver 

Their  land  from  error's  chain. 

What  though  the  spicy  breezes 

Blow  soft  o'er  Ceylon's  isle; 
Though  every  prospect  pleases, 

And  only  man  is  vile; 
In  vain  with  lavish  kindness 

The  gifts  of  God  are  strewn; 
The  heathen,  in  his  blindness, 

Bows  down  to  wood  and  stone. 
49 


50  FAVORITE  HYMNS 

Shall  we  whose  souls  are  lighted 

With  wisdom  from  on  high, 
Shall  we  to  men  benighted 

The  lamp  of  life  deny? 
Salvation,  O  salvation! 

The  joyful  sound  proclaim, 
Till  each  remotest  nation 

Has  learned  Messiah's  name. 

Waft,  waft,  ye  winds,  His  story, 

And  you,  ye  waters,  roll. 
Till,  like  a  sea  of  glory, 

It  spreads  from  pole  to  pole; 
Till  o'er  our  ransomed  nature 

The  Lamb  for  sinners  slain, 
Redeemer,  King,  Creator, 

In  bliss  returns  to  reign. 

The  hymn  grew  out  of  a  great  missionary  occasion. 
A  royal  letter  had  been  written  authorizing  missionary 
services  and  collections  in  every  church  and  chapel  in 
England  for  furthering  the  missionary  work  of  the  Society 
for  Propagating  the  Gospel.  Reginald  Heber,  who  was 
born  April  21,  1783,  was  a  young  clergyman  of  the  Church 
of  England  at  the  time.  While  a  student  he  had  shown 
poetic  talent  sufficient  to  gain  special  recognition  from  Sir 
Walter  Scott. 

Young  Heber  was  the  son-in-law  of  Dr.  Shipley,  dean  of 
St.  Asaph  and  vicar  of  Wrexham.  He  had  gone  to  Wrex- 
ham to  participate  in  the  Whitsunday  missionary  service. 
It  was  the  evening  preceding,  and  in  the  course  of  the 
preparations  for  the  morning  service  the  vicar  of  the  church 
in  Wrexham  asked  his  son-in-law,  then  rector  of  the  church 
at  Hodnet,  if  he  could  not  prepare  something  to  be  sung  at 
the  morning  service. 

Heber  retired  to  a  quiet  corner  of  the  house.    Shortly, 


BISHOP  HEBER 


MISSIONARY  HYMNS  SI 

in  response  to  the  inquiry,  "What  have  you  written?" 
he  read  the  first  three  verses  of  the  hymn,  substantially 
as  we  have  them  today. 

The  dean  appreciatively  said,  "There,  there,  that  will 
do  very  well."  ''No,  no,  the  sense  is  not  complete,"  was 
Heber's  reply.  He  accordingly  added  the  fourth  stanza, 
and  the  hymn  was  ready  for  use.  It  was  sung  the  fol- 
lowing morning  in  the  Wrexham  church  in  the  first  of 
the  thousands  of  missionary  serAdces  in  which  it  has 
helped  to  inspire  missionary  interest  and  kindle  mission- 
ary fires. 

It  was  not,  however,  sung  to  the  tune  to  which  it  is  now 
always  sung,  and  which  tune  has  become  a  part  of  the 
hymn  itself.  The  story  of  the  origin  of  this  tune  is  like- 
wise of  special  interest.  A  woman  who  was  very  much 
interested  in  missions  and  living  in  Savannah,  Ga.,  ac- 
cording to  the  story,  secured  a  copy  of  Heber's  hymn,  but 
was  not  pleased  with  the  music  to  which  the  words  were 
set.  She  felt  the  missionary  power  and  beauty  of  the 
words  and  a  burning  desire  to  have  a  more  fitting  tune  to 
which  to  sing  it  came  over  her.  She  knew  of  a  young 
bank  clerk,  who  lived  but  a  few  doors  from  her  home,  who 
was  counted  a  genius  in  music.  She  hastened  to  him  and  in 
half  an  hour  Lowell  Mason  returned  the  words  to  her  set 
to  the  music  according  to  which  everyone  now  sings  this 
"master  missionary  hymn  of  the  Church."  Of  this  tune 
it  has  been  said,  "Like  the  words  it  voices,  it  was  done  at 
a  stroke,  but  it  will  last  through  the  ages." 

The  language,  as  well  as  the  sentiment  of  the  hymn, 
is  beautiful.  It  has  been  said  of  it  that  "Every  line, 
indeed,  is  as  polished  and  refined  as  it  can  be.  It  is  the 
art  of  the  jeweler  in  the  precious  gems  of  language." 

To  know  the  main  facts  of  the  life  story  of  the  writer 


52  FAVORITE  HYMNS 

will  increase  our  appreciation  of  the  hymn  itself.  Pre- 
cocious as  a  boy,  he  was  distinguished  as  a  student.  He 
early  manifested  interest  in  missions,  an  e\'idence  of  which 
was  the  great  hymn  which  he  wrote  about  two  years  after 
his  ordination. 

His  soul  glowed  with  missionary  fire.  Hence  he  wel- 
comed a  call  to  be  Bishop  of  Calcutta,  for  it  realized  a 
purpose  which  had  been  for  some  time  stirring  in  his  heart, 
namxcly,  to  be  a  missionary.  Thus  it  became  his  privilege 
to  breathe  ''the  spicy  breezes"  that  "blow  soft  o'er  Cey- 
lon's isle,"  and  that  actually  carry  the  fragrance  of  the 
aromatic  forests  far  out  to  sea. 

He  occupied  his  position  as  Bishop  of  India  for  only 
three  years,  when  he  fell  as  a  martyr  to  the  missionary 
cause.  A  tablet  in  a  church  in  Ceylon  describes  his  faith- 
ful work  in  India.  His  hymn  is  instilling  the  missionary 
spirit  into  multitudes  of  missionary  assemblies  and  in- 
scribing his  memory  indelibly  upon  the  hearts  of  all  true 
Christians  who  have  a  genuine  love  for  missions. 

Another  hymn  by  Bishop  Heber,  written  in  1827, 
deserves  mention.  We  refer  to  that  hymn  which  is  such 
a  strong  call  to  Christian  service.  Under  the  imagery  of 
war,  to  gain  a  kingly  crown,  the  Son  of  God  is  the  leader 
of  the  missionary  train.     The  first  line  of  this  hymn  is: 

"The  Son  of  God  goes  forth  to  war.'* 

A  very  popular  missionary  hymn,  which  probably  stands 
second  only  to  Bishop  Heber's  hymn,  is  the  one  based  on 
the  Seventy-second  Psalm,  which  was  paraphrased  into  a 
hymn  originally  of  eight  stanzas  by  Isaac  Watts.  One  of 
the  most  popular  of  his  hymns,  it  was  published  in  the 
Psalms  of  David  in  1819: 


MISSIONARY  HYMNS  53 

watts'  missionary  hymn 

Jesus  shall  reign  where'er  the  sun 
Does  his  successive  journeys  run; 
His  kindgom  stretch  from  shore  to  shore, 
Till  moons  shall  wax  and  wane  no  more. 

For  Him  shall  endless  prayer  be  made, 
And  endless  praises  crown  His  head; 
His  name,  like  sweet  perfume,  shall  rise 
With  every  morning  sacrifice. 

People  and  realms  of  every  tongue 
Dwell  on  His  love  with  sweetest  song; 
And  infant  voices  shall  proclaim 
Their  early  blessings  on  His  name. 

Blessings  abound  wher'er  He  reigns; 
The  prisoner  leaps  to  lose  his  chains; 
The  weary  find  eternal  rest. 
And  all  the  sons  of  want  are  blest. 

Where  He  displays  His  healing  povrer 
Death  and  the  curse  are  known  no  more; 
In  Him  the  tribes  of  Adam  boast 
More  blessings  than  their  father  lost. 

Let  every  creature  rise  and  bring 
Peculiar  honors  to  our  King; 
Angels  descend  with  songs  again, 
And  earth  repeat  the  loud  Amen. 

It  will  add  to  our  appreciation  of  the  missionary  char- 
acter of  this  hymn  to  know  that  on  a  certain  missionary 
occasion  it  was  used  most  impressively  in  the  South  Sea 
Isles.  King  George,  the  ruler  of  the  islands,  gave  his  people 
a  new  constitution  and  exchanged  the  heathen  for  a  Chris- 
tian form  of  government.  Under  great  spreading  banyan 
trees  the  natives  from  Tongo,  Fiji  and  Samoa  gathered. 
It  was  Whitsunday,  1862.    The  people  had  assembled  for 


54  FAVORITE  HYMNS 

worship.  With  them  sat  King  George.  Around  the  king 
were  his  old  chiefs  and  warriors  w^ho  had  shared  with  him 
the  rigors  and  dangers  of  many  a  battle.  All  were  rejoicing 
in  the  new  Christian  spirit,  and  were  radiant  with  Christian 
love,  peace  and  hope. 

The  service  began  that  Pentecostal  morning  with  Watts' 
hymn: 

"Jesus  shall  reign  where'er  the  sun." 

As  they  sang  they  felt  the  power  of  the  word  of  God 
as  paraphrased  into  song,  Jesus'  reign  was  transforming 
them.  How  completely  His  sway  is  felt  when  men  come 
from  the  worship  of  idols  to  the  service  of  the  living  God! 
That  is  the  thought  which  is  uppermost  in  this  hymn, 
which,  by  reason  of  that  fact,  is  a  truly  great  missionary 
hymn. 

A  true  missionary  hymn  which,  when  sung  to  its  proper 
tune  will  stir  an  audience,  and  is  peculiarly  adapted  for 
use  at  the  opening  of  a  missionary  meeting  or  service,  was 
written  and  pubUshed  anonymously.  We  refer  to  the 
hymn  written  about  1 813,  by  John  Marriott,  the  son  of  a 
rector  of  the  Church  of  England.  An  analysis  of  this 
hymn  will  show  its  emphasis  of  the  Holy  Trinity  and  stress 
the  invocation  of  the  help  and  blessing  of  the  Triune  God 
on  all  missionary  endeavor. 

A  MISSIONARY   HYMN    OF   INVOCATION 

Thou,  whose  almighty  word 
Chaos  and  darkness  heard. 

And  took  their  flight; 
Hear  us,  we  humbly  pray; 
And  where  the  gospel  day 
Sheds  not  its  glorious  ray. 

Let  there  be  light! 


MISSIONARY  HY:MXS  55 


Thou,  who  didst  come  to  bring, 
On  Thy  redeeming  wing, 

HeaUng  and  sight. 
Health  to  the  sick  in  mind, 
Sight  to  the  inly  bhnd, 
O,  now  to  all  mankind, 
Let  there  be  light! 

Spirit  of  truth  and  love, 
Life-giving,  holy  Dove, 

Speed  forth  Thy  flight; 
Move  on  the  water's  face. 
Bearing  the  lamp  of  'grace, 
And  in  earth's  darkest  place 

Let  there  be  Hghtl 

Holy  and  blessed  Three, 
Glorious  Trinity, 

Wisdom,  Love,  Might! 
Boundless  as  ocean's  tide, 
RolKng  in  fullest  pride. 
Through  the  earth,  far  and  wide, 

Let  there  be  light! 

The  author  was  a  very  brilliant  but  a  very  modest  man. 
This  fact  accounts  for  the  first  publishing  of  the  hymn 
without  any  indication  of  the  authorship.  Mr.  Marriott 
was  the  second  of  two  who  took  honors  at  Oxford  in  1802, 
the  first  year  that  examinations  for  honors  were  given  at 
that  insitution.  He  wrote  a  number  of  hymns,  but,  on 
account  of  his  modesty,  he  never  published  them  in  book 
form,  and  no  one  else  has  attempted  to  gather  them  into  a 
volume.  This  hymn  alone  will  permanently  preserv^e  his 
name  in  the  list  of  those  who  through  their  hymns  have 
rendered  eminent  service  to  the  Church  of  God  among  men. 

Bishop  Arthur  Cleveland  Coxe  is  the  author  of  what  we 
might  call  a  missionary  prayer.  We  quote  his  hymn,  which 
has  come  into  extensive  use  and  is  a  general  favorite. 


56  ■  FAVORITE  HYMNS 

A   MISSIONARY   PRAYER 

Saviour,  sprinkle  many  nations, 

Fruitful  let  Thy  sorrows  be! 
By  Thy  pains  and  consolations 

Dra-w  the  Gentiles  unto  Thee! 
Of  Thy  cross  the  wondrous  story 

Be  it  to  the  nations  told; 
Let  them  see  Thee  in  Thy  glory, 

And  Thy  mercy  manifold! 

Far  and  wide,  though  all  unknowing, 

Pants  for  Thee  each  mortal  breast: 
Human  tears  for  Thee  are  flowing. 

Human  hearts  in  Thee  would  rest. 
Thirsting  as  for  dews  of  even, 

As  the  new-mown  grass  for  rain, 
Thee  they  seek,  as  God  of  heaven, 

Thee  as  Man,  for  sinners  slain. 

Saviour!  lo,  the  isles  are  waiting. 

Stretched  the  hand  and  strained  the  sight, 
For  Thy  Spirit  new-creating, 

Love's  pure  flame,  and  wisdom's  light. 
Give  the  word,  and  of  the  preacher 

Speed  the  foot,  and  touch  the  tongue, 
Till  on  earth,  by  every  creature, 

Glory  to  the  Lamb  be  sung. 

We  are  told  that  Bishop  Coxe  began  this  hymn  on  Good 
Friday,  1850,  but  that  he  did  not  complete  it  until  1851. 
It  was  first  published  in  connection  with  the  third  jubilee 
of  the  Society  for  the  Propagation  of  the  Gospel.  It  is 
based  on  Isaiah  52  :  15.  Modestly  Bishop  Coxe  kept  his 
hymns  out  of  the  hymnals  of  his  own  Church,  but  their 
merit  has  placed  some  of  them,  especially  this  truly  mis- 
sionary hymn,  in  nearly  every  other  Christian  hymnal  in 
America. 


HYMNS  OF  PENITENCE 

[E  of  the  most  beautiful  and  devotional  of  all  the 
psalms  is  the  one  hundred  and  thirtieth.  It  is 
so  expressive  of  the  mind  of  the  penitent  sinner 
that  it  rightly  finds  place  in  our  services  of  confes- 
sion or  of  humiliation.  With  the  words  of  this  psalm  as 
the  Bibical  background  Luther  has  given  to  us  one  of  his 
best  hymns,  and  one  which  is  especially  beautiful  as  an 
expression  of  the  mind  and  heart  of  the  penitent  sinner. 

It  has  been  well  said  of  Luther  that  he  is  the  "Ambrose 
of  German  hymnody."  This  is  high  but  deserved  praise. 
His  hymns  are  characterized  by  simplicity  and  strength 
and  have  a  popular  churchly  tone  in  the  true  sense  of  that 
word  churchly.  Julian  says:  "They  breathe  the  bold, 
confident,  joyful  spirit  of  justifying  faith,  which  was  the 
beating  heart  of  his  theology  and  piety."  A  striking  illustra- 
tion of  this  is  found  in  his  hymn  of  penitence,  which  is  a 
versification  of  the  thought  of  the  psalmist,  namely, 
"Aus  tiefer  Noth  schrei  ich  zu  Dir^ 

Luther  began  the  writing  of  hymns  in  1523,  and  as  this 
hymn  bears  the  date  of  1524  it  is  therefore  among  the  earlier 
of  his  contributions  to  the  rich  storehouse  of  Evangelical 
hymnody.  His  hymns  were  the  product  of  his  environ- 
ment and  the  expression  of  his  strong  faith  in  the  presence 
of  trial.  A  careful  reading  of  the  text  of  this  hymn,  while 
it  is  strictly  penitential,  shows  lines  strikingly  expressive 
of  faith  and  trust.  There  are  several  translations  of  the 
vigorous  German  of  this  hymn  into  very  excellent  English. 

57 


58  FAVORITE  HYMNS 

The  translation  which  is  probably  most  familiar  and  which 
is  most  widely  used  is  that  of  Miss  Winkworth,  which  we 
here  give.    It  will  prove  excellent  devotional  reading. 

Luther's  130TH  psalm 

Out  of  the  depths  I  cry  to  Thee, 

Lord,  hear  me,  I  implore  Thee! 
Bend  down  Thy  gracious  ear  to  me, 

Let  my  prayer  come  before  Thee! 
If  Thou  remember  each  misdeed. 
If  each  should  have  its  rightful  meed, 

Who  may  abide  Thy  presence? 

Our  pardon  is  Thy  gift ;  Thy  Love 

And  grace  alone  avail  us. 
Our  works  could  ne'er  our  guilt  remove, 

The  strictest  life  must  fail  us. 
That  none  may  boast  himself  of  aught. 
But  own  in  fear  Thy  grace  hath  wrought 

What  in  him  seemeth  righteous. 

And  thus  my  hope  is  in  the  Lord, 

And  not  in  mine  own  merit: 
I  rest  upon  His  faithful  word 

To  them  of  contrite  spirit. 
That  He  is  merciful  and  just — 
Here  is  my  comfort  and  my  trust. 

His  help  I  wait  with  patience. 

And  though  it  tarry  till  the  night. 

And  round  till  morning  waken, 
My  heart  shall  ne'er  mistrust  Thy  might. 

Nor  count  itself  forsaken. 
Do  thus,  O  ye  of  Israel's  seed. 
Ye  of  the  Spirit  born  indeed, 

Wait  for  your  God's  appearing. 


HYMNS  OF  PENITENCE  59 

Though  great  our  sins  and  sore  our  woes, 

His  grace  much  more  aboundeth; 
His  helping  love  no  limit  knows, 

Our  utmost  need  it  soundeth. 
Our  kind  and  faithful  Shepherd,  He, 
Who  shall  at  last  set  Israel  free 

From  all  their  sin  and  sorrow. 

A  hymn  of  penitence,  which  is  in  its  every  line  a  con- 
fession and  w^hich  is  one  of  several  which  have  found  favor 
with  the  editors  of  hymn  books,  is  the  hymn  which  was 
written  by  John  Taylor  in  1795.  The  author  was  a 
Unitarian,  who  for  some  years  was  a  banker,  after  which 
be  became  a  manufacturer. 

unitarian's  hymn  of  penitence  and  confession 

God  of  mercy!  God  of  grace! 

Hear  our  sad  repentant  songs. 
O  restore  Thy  suppliant  race, 

Thou  to  Whom  our  praise  belongs! 

Deep  regret  for  follies  past, 
Talents  wasted,  time  misspent; 

Hearts  debased  by  worldly  cares, 
Thankless  for  the  blessings  lent: 

Foolish  fears  and  fond  desires, 
Vain  regrets  for  things  as  vain: 

Lips  too  seldom  taught  to  praise, 
Oft  to  murmur  and  complain; 

These,  and  every  secret  fault, 

Filled  with  grief  and  shame,  we  own. 

Humbled  at  Thy  feet  we  lie, 

Seeking  pardon  from  Thy  throne. 

Isaac  Watts,  that  prolific  writer  of  English  hymns,  has 
contributed  a  most  helpful  penitential  hynrn,  which  bears 


6o  FAVORITE  HYMNS 


the  date  of  17 19.  The  sentiment  of  this  hymn  is  rather  an 
assumption  of  sin  and  a  realization  of  God's  knowledge  of 
it,  and  therefore  a  penitential  petition  for  forgiveness. 

watts'  prayer  for  forgiveness 

Show  pity,  Lord;  O  Lord!  forgive; 
Let  a  repenting  rebel  live. 
Are  not  Thy  mercies  large  and  free? 
May  not  a  sinner  trust  in  Thee? 

Great  God,  Thy  Nature  hath  no  bound, 
So  let  Thy  pardoning  Love  be  found. 

0  wash  my  soul  from  every  sin, 

And  make  my  guilty  conscience  clean! 

My  lips  with  shame  my  sins  confess 
Against  Thy  law,  against  Thy  grace: 
Lord,  should  Thy  judgment  grow  severe, 

1  am  condemned,  but  Thou  art  clear. 

Yet  save  a  trembling  sinner.  Lord, 
Whose  hope,  still  hovering  round  Thy  word, 
Would  light  on  some  sweet  promise  there, 
Some  sure  support  against  despair. 

This  hymn  is  a  versification  of  the  fifty-first  psalm. 
In  this  psalm  David  prays  for  the  remission  of  sins, 
making  deep  confession.  It  was  after  he  had  been  guilty 
of  specially  heinous  sin.  It  is,  therefore,  a  psalm  which  is 
always  appropriate  in  times  of  humiliation  or  at  services 
of  confession.  The  psalms,  as  we  know,  were  the  first 
hymn  book.  They  still,  in  their  scriptural  form,  are 
chanted  in  the  churches.  In  their  proper  rendering  we  have 
the  privilege  of  most  beautiful  and  expressive  worship. 
Some  of  the  best  of  our  hymns  are  versifications  of  these 
old  biblical  chants  of  the  sanctuary.    Of  these,  Luther  and 


HYMNS  OF  PENITENCE  6 1 

Watts  have  given  us  two  of  the  best  in  their  respective 
renditions  of  the  130th  and  51st  psalms. 

True  penitence  leads  to  boldness  of  faith  in  approaching 
the  throne  of  grace.  We  close  our  present  study,  therefore, 
with  the  touching  story  of  the  origin  of  a  hymn  which  we  all 
love  to  sing. 

Miss  Charlotte  Elliott,  when  a  young  woman,  was  a 
lover  of  dancing.  She  was  preparing  to  attend  an  annual 
ball  and  was  on  her  way  to  the  dressmaker  to  have  her 
dress  made  for  the  occasion  when  she  met  her  pastor.  He 
was  a  very  earnest  and  conscientious  man  and  spoke 
earnestly  with  her  concerning  the  ball.  She  became  greatly 
vexed  and  told  her  pastor,  "I  wish  you  would  mind  your 
own  business." 

She  attended  the  dance  and  was  very  popular.  The 
dance  lasted  until  almost  daylight.  In  spite  of  the  flatter- 
ing words  that  she  heard  and  the  attention  she  received 
all  through  the  night  of  gayety,  her  conscience  troubled 
her  because  of  her  conversation  with  her  pastor.  When 
she  reached  home  her  conscience  had  made  her  feel 
wretched.  She  could  not  sleep.  She  had  always  admired 
and  loved  her  pastor  as  a  cherished  friend,  and  her  rudeness 
in  saying  what  she  did  worried  her. 

After  some  days  she  went  to  see  him,  confessed  her  feel- 
ings, and  said,  'Tor  these  days  I  have  been  the  most 
wretched  girl  in  the  world,  and  now,  oh,  that  I  were  a 
Christian!    I  want  to  be  a  Christian!    What  must  I  do?" 

Her  old  pastor  talked  earnestly  to  her  and  said  to  her, 
"Just  give  yourself,  my  child,  to  the  Lamb  of  God,  just  as 
you  are." 

That  expression  in  the  counsel  of  her  pastor  caught  hold 
of  her  mind  and  heart.  Her  story  of  her  experience  is  that 
as  she  prayed  for  courage  to  give  herself  to  Jesus  just  as  she 


62  FAVORITE  HYMNS 


was,  the  thought  came  like  an  inspiration,  and  she  wrote 
the  hymn  which  has  brought  confidence  and  cheer  to  many 
a  penitent  but  believing  heart. 

Miss  Elliott  had  no  thought  of  fame  when  she  wrote. 
She  did  not  even  think  of  whether  any  other  person  might 
care  to  make  use  of  her  words.  She  merely  put  her  own 
heart  on  paper.  The  hymn  was  born  of  a  personal  expe- 
rience. Because  of  this  fact  it  appeals  to  other  hearts, 
which,  like  Miss  Elliott's,  need  the  cleansing  power  of  the 
blood  of  the  Lamb. 


MISS  Elliott's  "just  as  i  am" 

Just  as  I  am,  without  one  plea 
But  that  Thy  Blood  was  shed  for  me, 
And  that  Thou  bidst  me  come  to  Thee, 
O  Lamb  of  God,  I  come,  I  come! 

Just  as  I  am,  and  waiting  not 

To  rid  my  soul  of  one  dark  blot, 

To  Thee,  whose  Blood  can  cleanse  each  spot, 

O  Lamb  of  God,  I  come,  I  come! 

Just  as  I  am,  though  tossed  about 
With  many  a  conflict,  many  a  doubt. 
Fightings  and  fears  within,  without, 
O  Lamb  of  God,  I  come,  I  come! 

Just  as  I  am,  poor,  wretched,  blind; 
Sight,  riches,  healing  of  the  mind. 
Yea,  all  I  need,  in  Thee  to  find, 
O  Lamb  of  God,  I  come,  I  come! 

Just  as  I  am;  Thou  wilt  receive, 
Wilt  welcome,  pardon,  cleanse,  relieve, 
Because  Thy  promise  I  believe; 
O  Lamb  of  God,  I  come,  I  come! 


HYMNS  OF  PENITENCE  63 

Just  as  I  am;  Thy  Love  unknown 
Has  broken  every  barrier  down; 
Now  to  be  Thine,  yea,  Thine  alone, 
O  Lamb  of  God,  I  come,  I  come! 

Miss  Elliott  wrote  about  a  hundred  and  fifty  hymns,  of 
which  the  finest  and  most  widely  known  is  the  one  we  have 
just  quoted. 


LENTEN  HYMNS 


Yp<|YMNS  form  a  most  important  part  of  our  worship. 
JLx|    They  mold  character  and  often  shape  the  Hves 
Wi    of  those  who  sing  them.     For  these  reasons  hymns 
should  never  be  chosen  carelessly,   but  always 
with  respect  to  the  occasion  and  the  sentiment. 

"Alas!  and  did  my  Saviour  bleed, 
And  did  my  Sovereign  die?" 

is  a  very  beautiful  and  appropriate  Good  Friday  hymn 
which  came  as  a  most  discordant  note  to  our  ears  im- 
mediately following  the  sermon  at  a  Harvest  Festival. 
It  had  no  meaning  there. 

Our  worship  will  mean  much  more  to  us  when  we  have 
learned  to  appreciate  the  hymns  we  sing.  When  we 
appreciate  them,  know  their  history,  peculiar  character 
and  inner  meaning,  we  will  use  them  appropriately. 
When  thus  used  we  will  enter  into  their  spirit  and  they  will 
add  harmony  and  meaning  to  the  worship  of  the  day. 

There  is  unusual  force  to  the  hymns  of  Lent  which  in 
themselves  furnish  a  rich  field  of  study.  An  interpretation 
of  a  few  will  we  trust  send  our  readers  to  the  sources  that 
they  may  make  a  general  study  of  the  hymns  which  sing 
into  our  lives  the  facts  and  the  spirit  of  the  season  which 
inspires  the  Christian  to  take  up  the  cross  and  follow  after 
Christ.  One  of  the  grandest  of  the  Lenten  hymns  is  from 
the  pen  of  Isaac  Watts. 

64 


LENTEN  HYMNS  65 


watts'  survey  of  the  cross 

When  I  survey  the  wondrous  Cross 
On  which  the  Prince  of  glory  died, 

My  richest  gain  I  count  but  loss, 
And  pour  contempt  on  all  my  pride. 

Forbid  it,  Lord,  that  I  should  boast, 
Save  in  the  death  of  Christ,  my  God; 

All  the  vain  things  that  charm  me  most, 
I  sacrifice  them  to  His  Blood. 

See,  from  His  head,  His  hands,  His  feet, 
Sorrow  and  love  flow  mingled  down! 

Did  e'er  such  love  and  sorrow  meet. 
Or  thorns  compose  so  rich  a  crown? 

Were  the  whole  realm  of  nature  mine, 
That  were  a  tribute  far  too  small; 

Love  so  amazing,  so  divine, 

Demands  my  soul,  my  Kfe,  my  all. 

This  h>Tnn  is  placed  by  very  competent  critics  among 
the  four  hymns  w^hich  stand  at  the  head  of  hymns  in  the 
English  language.  Grand  as  it  is,  we  know  little  concerning 
its  origin.  Like  many  of  the  hymns  of  Isaac  Watts,  little 
is  known  beyond  the  date  of  publication,  which  is  given  as 
1709.  The  hymn  is  a  classic  in  its  language,  in  its  thought 
and  in  its  spirit.  The  faith  w^hich  it  should  inspire  is  the 
kind  which  will  sustain  and  carry  through  life. 

Isaac  Watts,  the  author,  was  born  at  Southampton, 
England,  July  17,  1764.  He  was  offered  a  university 
education  if  he  w^ould  become  a  minister  of  the  Church  of 
England,  but  he  declined,  preferring  to  become  a  ''Dis- 
senter." He  preached  his  first  sermon  when  he  was 
twenty-four  years  of  age.  He  became  a  distinguished 
writer,  most  of  his  writings  being  classics  which  have  found 


66  FAVORITE  HYMNS 


an  honored  place  in  the  permanent  Uterature  of  the 
English  language.  Among  his  best  hymns  we  must  note 
his  great  missionary  hymn — 

"Jesus  shall  reign  where'er  the  sun," 

and  his  beautiful  rendition  of  the  98th  Psalm,  without  the 
singing  of  which  there  would  be  something  lacking  from 
the  observance  of  Christm^as,  namely — 

"Joy  to  the  world,  the  Lord  is  come!" 

Then  there  is  his  invocation  of  the  Holy  Spirit — 
"Come,  Holy  Spirit,  heavenly  Dove," 

which  is  a  standard  hymn  of  invocation  and  a  universal 
favorite. 

AN   APOSTROPHE   TO   JESUS 

Hail,  Thou  once  despised  Jesus! 

Hail,  Thou  Galilean  King! 
Thou  didst  suffer  to  release  us; 

Thou  didst  free  salvation  bring. 
Hail,  Thou  agonizing  Saviour, 

Bearer  of  our  sin  and  shame! 
By  Thy  merits  we  find  favor; 

Life  is  given  through  Thy  Name. 

Paschal  Lamb,  by  God  appointed, 

All  our  sins  on  Thee  were  laid; 
By  almighty  Love  anointed. 

Thou  hast  full  Atonement  made. 
All  Thy  people  are  forgiven 

Through  the  virtue  of  Thy  Blood: 
Opened  is  the  gate  of  heven; 

Peace  is  made  'twixt  man  and  God. 


"Not  My  will,  hut  Thine  be  done. 


LENTEN  HYMNS  67 


Jesus,  hail,  enthroned  in  glory, 

There  for  ever  to  abide! 
All  the  heavenly  hosts  adore  Thee, 

Seated  at  Thy  Father's  side: 
There  for  sinners  Thou  art  pleading, 

There  Thou  dost  our  place  prepare, 
Ever  for  us  interceding, 

Till  in  glory  we  appear. 

Worship,  honor,  power,  and  blessing, 

Thou  art  worthy  to  receive; 
Loudest  praises,  without  ceasing, 

Meet  it  is  for  us  to  give. 
Help,  ye  bright  angeHc  spirits, 

Bring  your  sweetest,  noblest  lays, 
Help  to  sing  our  Saviour's  merits, 

Help  to  chant  Immanuel's  praise. 

This  hymn  is  very  widely  used.  It  is  probably  the  most 
popular  hymn  from  the  pen  of  John  Blakewell.  It  was 
published  in  1760.  While  particularly  appropriate  during 
the  Lenten  season,  this  hymn  beautifully  summarizes  both 
the  humiliation  and  the  exaltation,  the  passion  and  the 
triumph  of  Jesus.  Hence  it  finds  a  place  in  many  a  service 
of  praise  as  well  as  of  passion,  serving  to  lift  the  worshiper 
who  sings  it  up  to  a  sympathetic  as  well  as  a  believing 
approach  to  Christ. 

The  author,  John  Blakewell,  was  bom  at  Brailsford, 
Derbyshire,  England,  in  1721.  Through  the  reading  of  a 
book  when  he  was  eighteen  years  of  age  his  mind  was 
directed  into  religious  channels.  He  became  an  ardent 
evangelist,  preaching  his  first  sermon  in  1744.  While  in 
London  he  became  acquainted  with  the  Wesleys  and  be- 
came actively  associated  with  them  in  their  evangelistic 
work.  For  a  time  he  conducted  a  school  at  Greenwich. 
This  school  was  known  as  the  Royal  Park  Academy. 


68  FAVORITE  HYMNS 

He  died  at  the  advanced  age  of  ninety-eight  years,  March, 
1819.  While  best  known  by  his  hymn  quoted  above,  he 
was  the  author  of  several  others,  which  are  quite  popular, 
including, 

"Paschal  Lamb  by  God  appointed," 
and 

''Jesus,  Hail!  enthroned  in  glory," 

One  of  the  grandest  hymns  of  the  church  for  use  in  the 
Lenten  season  is  from  the  pen  of  Bernard  of  Clair vaux. 

A   CLASSIC   HYMN   ON   JESUS'    PASSION 

0  sacred  Head,  now  wounded, 

With  grief  and  shame  weighed  down, 
Now  scornfully  surrounded 

With  thorns.  Thy  only  crown! 
O  sacred  Head,  what  glory, 

What  bliss,  till  now,  was  Thine! 
Yet,  though  despised  and  gory, 

I  joy  to  call  Thee  mine. 

How  art  Thou  pale  with  anguish, 

With  sore  abuse  and  scorn! 
How  does  that  visage  languish, 

Which  once  was  bright  as  morn! 
What  Thou,  my  Lord,  hast  suffered. 

Was  all  for  sinners'  gain; 
Mine,  mine  was  the  transgression, 

But  Thine  the  deadly  pain. 

Lo,  here  I  fall,  my  Saviour! 

'Tis  I  deserve  Thy  place! 
Look  on  me  with  Thy  favor, 

Vouchsafe  to  me  Thy  grace. 
Receive  me,  my  Redeemer: 

My  Shepherd,  make  me  Thine! 
Of  every  good  the  Fountain, ' 

Thou  art  the  Spring  of  mine! 


LENTEN  HYMNS  69 


What  language  shall  I  borrow 

To  thank  Thee,  dearest  Friend, 
For  this  Thy  dying  sorrow, 

Thy  pity  without  end! 
O  make  me  Thine  for  ever. 

And  should  I  fainting  be, 
Lord,  let  me  never,  never, 

Outlive  my  love  to  Thee. 

Forbid  that  I  should  leave  Thee; 

O  Jesus,  leave  not  me; 
In  faith  may  I  receive  Thee, 

When  death  shall  set  me  free. 
W^hen  strength  and  comfort  languish, 

And  I  must  hence  depart. 
Release  me  then  from  anguish 

By  Thine  own  wounded  heart. 

The  beauty  of  this  hymn  is  that  it  enters  into  deepest 
sympathy  with  Christ  in  His  passion  and  at  the  same 
time  breathes  strong  personal  faith  in  the  atonement.  We 
owe  a  great  debt  of  gratitude  for  this  hymn  to  St.  Bernard 
of  Clairvaux,  whose  Latin  original  we  consider  his  master- 
piece. A  rich  and  beautiful  German  rendering  of  this 
hymn  is  from  the  pen  of  that  great  Lutheran  hymn 
writer,  Paul  Gerhardt,  whose,  ''O  Haupt  voll  Blut  und 
Wunden"  is  found  in  practically  all  good  German  hymn 
books. 

The  best  English  translation  of  this  hymn  is  by  James 
W.  Alexander,  an  American  Presbyterian  clergyman. 
He  made  his  transaction  in  1830. 

Dr.  Schaff,  the  greatest  of  American  Presbyterian 
theologians,  in  speaking  of  this  old  hymn  of  the  church 
says:  ''This  classic  hymn  has  shown  in  three  tongues — 
Latin,  German  and  English — and  in  three  confessions — 
Roman,  Lutheran  and  Reformed — with  equal  effect  the 


70  FAVORITE  HYMNS 

dying  love  of  our  Saviour  and  our  limitless  indebtedness  to 
Him." 

THE   PASSION    STORY   IN   SONG 

Go  to  dark  Gethsemane, 

Ye  that  feel  the  tempter's  power: 

Your  Redeemer's  conflict  see; 
Watch  with  Him  one  bitter  hour; 

Turn  not  from  His  griefs  away; 

Learn  of  Jesus  Christ  to  pray. 

Follow  to  the  judgment-hall, 

View  the  Lord  of  life  arraigned; 
O  the  wormwood  and  the  gall! 

O  the  pangs  His  soul  sustained! 
Shun  not  suffering,  shame,  or  loss; 
Learn  of  Him  to  bear  the  cross. 

Calvary's  mournful  mountain  climb: 

There,  adoring  at  His  feet, 
Mark  that  miracle  of  time, 

God's  own  sacrifice  complete: 
"It  is  finished,"  hear  Him  cry: 
Learn  of  Jesus  Christ  to  die. 

Early  hasten  to  the  tomb. 

Where  they  laid  His  breathless  day; 

All  is  solitude  and  gloom: 
Who  hath  taken  Him  away? 

Christ  is  risen! — He  meets  our  eyes: 

Saviour,  teach  us  so  to  rise. 

This  is  a  hymn  which  is  pre-eminently  a  hymn  for  the 
penitent  sinner  who  is  led  to  Christ  and  follows  Him  in  His 
sufferings  and  on  to  His  resurrection  triumph.  It  is  a 
hymn  which  makes  the  man  who  sings  it  feel  the  passion 
and  realize  the  death  and  triumph  of  Christ.  It  is  so  very 
realistic  that  it  does  not  appeal  to  those  whose  religion  is 


LENTEN  HYMNS  71 


merely  sentiment;  it  is,  however,  a  source  of  comfort 
and  strength  to  the  man  who  reaUzes  sin  and  what  the 
Saviour  suffered  that  sin  might  be  atoned  for. 

There  are  two  texts  of  this  hymn.  They  are  both  by  the 
same  author,  James  Montgomery,  and  stand  side  by  side, 
some  preferring  the  one  version,  and  some  the  other.  It 
first  appeared  in  1820,  the  second  version  appearing  in 
1825.  The  author  was  the  son  of  a  Moravian  minister. 
He  was  born  in  Irvine,  Ayrshire,  England,  November  4, 
177 1.  He  died  at  Sheffield  April  30,  1854.  When  he 
was  but  six  years  old  he  was  sent  to  a  Moravian  school. 
He  tells  how  the  first  Moravian  Easter  service  at  this 
school  impressed  him.  This  service,  ending  in  the 
cemetery,  was  like  the  wind  sweeping  over  an  air  harp, 
making  wild  and  mysterious  music  in  his  soul.  These 
childhood  impressions  find  expression  in  all  probability 
in  his  later  life  in  this  'Toem  of  Passion  and  Victory." 
He  has  added  some  very  rich  treasures  to  the  hymns  of 
the  Church;  but  this  is  the  one  contribution  which  he  has 
made  to  our  favorites  for  the  Lenten  season. 

AN  ANONYMOUS   HYMN 

Glory  be  to  Jesus, 

Who,  in  bitter  pains. 
Poured  for  me  the  life-blood 

From  His  sacred  veins! 

Grace  and  life  eternal 

In  that  Blood  I  find; 
Blest  be  His  compassion, 

Infinitely  kind! 

Blest  through  endless  ages 

Be  the  precious  stream, 
Which  from  endless  torments 

Did  the  world  redeem! 


72  FAVORITE  HYMNS 

Abel's  blood  for  vengeance 

Pleaded  to  the  skies: 
But  the  Blood  of  Jesus 

For  our  pardon  cries! 

Oft  as  earth  exulting 

Wafts  its  praise  on  high, 
Angel  hosts  rejoicing 

Make  their  glad  reply. 

Lift  we  then  our  voices, 

Swell  the  mighty  flood; 
Louder  still,  and  louder 

Praise  the  precious  Blood! 

This  hymn  is  so  beautiful  in  sentiment  and,  when  sung 
to  its  proper  melody,  so  sweet  that  it  appeals  to  both 
young  and  old.  A  child  four  years  old  caught  the  melody 
and  remembered  the  words  of  this  beautiful  hymn  and 
sang  it  at  her  play.  She  loved  it.  The  incident  is  a 
strong  rebuke  to  those  who  say  that  little  children  will 
not  like  or  sing  solemn  or  the  oft  times  called  ''heavy" 
hymns  and  music.  They  will  love  and  sing  that  which 
they  are  taught.  We  thus  have  the  opportunity,  by  teach- 
ing them  the  good  standard  hymns  of  the  Church  and 
those  hymns  which  reflect  the  teachings  and  life  of 
the  Church,  to  implant  and  cultivate  a  true  faith  and 
life. 

Beautiful  as  this  little  hymn  is,  the  author  of  it  is  un- 
known. Neither  can  it  be  stated  with  certainty  when  it 
was  written.  It  was  originally  written  in  Latin  and  is  by 
some  Italian  writer.  It  is  sometimes  credited,  but  with 
little  authority,  to  St.  Alfonso.  It  is  generally  regarded  as 
being  a  hymn  of  the  eighteenth  century. 


LENTEN  HYMNS  73 


The  well-known  Faber  has  made  a  translation  of  this 
hymn,  to  which  he  has  added  a  note:  *'To  all  the  faithful 
who  say  or  sing  the  above  hymn,  Pius  VII  (1800-1823) 
grants  an  indulgence  of  one  hundred  days;  applicable  also 
to  the  souls  in  purgatory."  We  attribute  no  such  merit  to 
the  singing  of  this  beautiful  Uttle  hymn,  but  delight  to 
use  it  in  the  popular  translation  which  was  made  in  1857 
by  E.  Caswell. 

Strange  as  it  may  seem,  the  author  of  one  of  our  most 
beautiful  Lenten  hymns,  one  which  especially  extols 
the  cross  of  Christ,  was  a  Unitarian.  We  refer  to  *'In  the 
cross  of  Christ  I  glory."  The  author.  Sir  John  Bowring, 
was  a  member  of  the  British  Parliament,  a  radical  in 
politics,  but  a  man  of  strong  character,  possessed  of 
quaHties  which  made  him  a  favorite.  He  was  quite  a 
linguist.  Because  of  this  fact  and  of  his  mterest  in 
politics  he  became  British  consul  at  Hong  Kong,  China. 
While  holding  this  position  he  visited  Macao,  on  the  coast 
of  South  China.  Here  Vasco  De  Gama  had  built  a  great 
cathedral  on  the  crest  of  a  hill,  with  a  splendid  approach 
of  stone  steps.  A  violent  sea  typhoon,  however,  had 
destroyed  it;  but,  strange  to  say,  although  the  cathedral 
fell,  the  front  wall  remained  standing,  defying  wind  and 
storm.  On  its  very  top  there  is  a  large  bronze  cross 
standing  clear  cut  against  the  sky,  defying  rain  and 
lightning  and  typhoon.  It  is  a  striking  sight,  beholding 
which.  Sir  John  Bowring  was  inspired  to  write  the  grand 
hymn  which  multitudes  have  loved  to  sing. 

Certainly  this  hymn  will  have  more  significance  to  us 
since  we  know  the  circumstances  which  inspired  it.  That 
mighty  cross,  surmounting  the  ruins  and  reaching  out  as 
it  were  into  the  very  blue  of  the  heavens,  is  before  us 
as  we  sing  it. 


74  FAVORITE  HYMNS 

UNITARIANS    GLORYING   IN   THE   CROSS 

In  the  Cross  of  Christ  I  glory, 
Towering  o'er  the  wrecks  of  time; 

All  the  Ught  of  sacred  story- 
Gathers  round  its  head  sublime. 

When  the  woes  of  life  o'er  take  me, 
Hopes  deceive  and  fears  annoy, 

Never  shall  the  Cross  forsake  me; 
Lo!  it  glows  with  peace  and  joy. 

When  the  sun  of  bliss  is  beaming 
Light  and  love  upon  my  way, 

From  the  Cross  the  radiance  streaming 
Adds  new  lustre  to  the  day. 

Bane  and  blessing,  pain  and  pleasure, 
By  the  Cross  are  sanctified; 

Peace  is  there  that  knows  no  measure, 
Joys  that  through  all  time  abide. 


c 

3 

E 
o 
u 

C 


o 


HYMNS  FOR  P.\LM  SUNDAY 


J^:^  HERE  are  volumes  of  sermons  in  the  songs  we  sing. 
^^      In  the  choosing,  therefore,  of  the  hymns  v/e  use 
SS88     we  should  give  special  thought  both  to  theme  and 
melody.     If  we  fail  to  do  this  we  will  do  violence 
to  the  spirit  of  the  h^nnn  and  rob  it  of  its  special  meaning. 
To  illustrate,  in  a  ser\ice  of  thanksgiving,  immediately  fol- 
lowing a  sermon  on  the  blessings  of  the  harvest,  to  sing 
"Alas!  and  did   my  Saviour  bleed,"  as  was  done  on  a 
certain  occasion,  is  to  do  violence  to  the  sermon,  the  oc- 
casion and  to  good  common  sense. 

In  the  choice  of  hymns  attention  must  not  only  be  given 
to  the  selection  of  a  tune  which  will  jingle  pleasingly  on  the 
ear.  If  the  song  is  to  reach  and  touch  the  heart,  as  it 
should,  due  attention  must  be  given  to  the  times  and 
seasons,  as  well  as  to  the  words  and  melody.  When  all 
blend  in  perfect  harmony  the  hymn  becomes  a  vital  part 
of  the  worship  of  the  day.  It  will  often  bring  out,  impress 
and  send  home  the  lessons  of  the  sermon.  For  these 
reasons  the  most  beautiful  hymn  may  be  entirely  out  of 
place,  as  was  Watts'  "Good  Friday  Hymn"  in  a  service  of 
thanksgiving. 

Giving  special  thought  to  the  time  as  well  as  the  theme, 
certain  hymns  have  become  closely  identified  with  certain 
festival  days.  Thus  when  Palm  Sunday  comes  and  the 
children  approach  the  altar  to  ratify  their  baptismal  vows 
and  give  their  hearts  to  Jesus  in  the  beautiful  confirmation 
service,  and  when  we  realize  that  the  day  is  the  first  of  the 

75 


76  FAVORITE  HYMNS 

"week  of  woe"  for  the  suffering  Saviour,  we  logically  think 
of  that  special  Palm  Sunday  hymn,  "Gloria,  Laus,  et 
Honor,''  by  Theodulph  of  Orleans.  The  wording  as  well 
as  the  origin  of  this  hymn  make  it  peculiarly  a  hymn  for 
the  day.  To  know  the  story  of  this  hymn  is  to  find  much 
more  in  its  beautiful  lines  and  to  get  much  more  edification 
and  worship  out  of  it  than  otherwise  would  be  possible. 

THEODULPH^S  PALM  SUNDAY  HYMN 

All  glory,  praise,  and  honor 

To  Thee,  Redeemer  King; 
To  whom  the  lips  of  children 

Made  sweet  hosannas  ring. 

Thou  art  the  King  of  Israel, 

Thou  David's  royal  Son, 
Who  in  the  Lord's  name  comest, 

The  King,  the  blessed  One! 

The  company  of  angels 

Are  praising  Thee  on  high, 
And  mortal  men,  and  all  things 

Created,  make  reply. 

The  people  of  the  Hebrews 

With  palms  before  Thee  went; 
Our  praise  and  prayer  and  anthems 

Before  Thee  we  present. 

To  Thee  before  Thy  passion 

They  sang  their  hymns  of  praise, 

To  Thee,  now  high  exalted. 
Our  melody  we  raise. 

Thou  didst  accept  their  praises; 

Accept  the  prayers  we  bring, 
Who  in  all  good  delightest, 

Thou  good  and  gracious  King! 


HYMNS  FOR  PALM  SUNDAY  77 

The  author,  Theodulph  of  Orleans,  was  born  in  Italy  in 
the  eighth  century.  He  was  Abbot  of  a  Benedictine  mon- 
astery in  Florence,  but  on  the  invitation  of  Charlemagne 
removed  to  France,  where,  about  785  A.  D.,  he  became 
Bishop  of  Orleans.  After  the  death  of  Charlemagne  he 
continued  for  some  time  on  friendly  terms  with  the 
Emperor  Louis,  but  falling  under  suspicion  of  being  impli- 
cated in  a  plot  in  favor  of  Bernard  of  Italy,  he  was  im- 
prisoned at  Angers.  The  story  is  that  while  thus  im- 
prisoned the  emperor  was  in  the  procession  on  Palm  Sunday 
morning.  This  procession  on  its  way  to  the  church  passed 
the  prison  where  Theodulph  was.  As  the  procession  passed 
his  window  he  sang  the  words  of  this  hymn,  ^^Gloria^  LauSj 
et  Honor."  The  singing  is  said  to  have  reached  the  ear 
of  the  emperor,  touched  his  heart  and  secured  the  liberty 
of  the  singer. 

The  hymns  of  Theodulph  were  the  best  of  the  age  in 
which  he  lived.  Certainly  his  "Palm  Sunday  Hymn," 
which  has  been  preserved  for  us  through  the  centuries 
and  furnished  to  us  in  these  latter  days  in  a  most  excellent 
English  translation  by  John  Mason  Neale,  is  full  of 
scriptural  truth  and  so  vivid  in  its  imagery  as  to  make 
it  most  edifying  and  helpful  as  a  part  of  a  Palm  Sunday 
service. 

Another  hymn  which  has  been  written  especially  for 
Palm  Sunday  and  which  seems  out  of  place  at  any  other 
time  is, 

milm.\n's  ride  on,  ride  on  in  majesty 

Ride  on,  ride  on  in  majesty! 

In  lowly  pomp  ride  on  to  die! 

O  Christ,  Thy  triumphs  now  begin 

O'er  captive  death  and  conquered  sin. 


78  FAVORITE  HYMNS 

Ride  on,  ride  on  in  majesty! 
The  angel  armies  of  the  sky- 
Look  down  with  sad  and  wondering  eyes, 
To  see  the  approaching  Sacrifice. 

Ride  on,  ride  on  in  majesty! 
Thy  last  and  fiercest  strife  is  nigh: 
The  Father  on  His  sapphire  throne 
Expects  His  own  anointed  Son. 

Ride  on,  ride  on  in  majesty! 

In  lowly  pomp  ride  on  to  die! 

Bow  Thy  meek  head  to  mortal  pain, 

Then  take,  O  God,  Thy  power,  and  reign. 

The  imagery  of  this  hymn  is  so  true  to  the  scriptural 
facts  of  the  triumphal  entry  and  the  tragic  events  of  Holy 
Week  that  when  it  is  sung  to  its  proper  tune  we  can  almost 
see  the  hosts  entering  Jerusalem  and  follow  with  the  eye 
the  weary  march  to  Calvary  as  we  sing. 

The  author  of  this  hymn  was  Henry  Hart  Milman,  the 
youngest  son  of  an  English  court  physician.  He  was  born 
February  lo,  1791.  He  gave  promise  of  being  a  poet  of 
note  and  contributed  thirteen  hymns  to  the  collection  of 
Bishop  Heber.  He  turned,  however,  to  general  literary 
work  and  became  an  historical  and  theological  writer  of 
note.  As  an  illustration  of  pure  devotion  we  know  of 
nothing  that  is  superior  to  that  hymn  of  his  which  begins: 

"Oh,  help  us.  Lord!  each  hour  of  need 
Thy  heavenly  succor  give; 
Help  us  in  thought  and  word  and  deed, 
Each  hour  on  earth  we  live!" 

*  A  hymn  which  the  children  love  to  sing  and  which  is 
missionary  in  its  note  as  well  as  Palm  Sunday  in  its  imagery 
is  in  extensive  use  today.    We  might  call  it 


HYMNS  FOR  PALM  SUNDAY  79 

THE   children's   PALM   SUNDAY  HYMN 

When  His  salvation  bringing, 

To  Zion  Jesus  came, 
The  children  all  stood  singing 

Hosanna  to  His  name. 
Nor  did  their  zeal  offend  Him, 

But  as  He  rode  along, 
He  let  them  still  attend  Him, 

And  smiled  to  hear  their  song. 


And  since  the  Lord  retaineth 

His  love  for  children  still, 
Though  now  as  King  He  reigneth 

On  Zion's  heavenly  hill; 
We'll  flock  around  His  banner, 

Who  sits  upon  the  throne, 
And  cry  aloud,  "Hosanna 

To  David's  royal  Son!" 


For  should  we  fail  proclaiming 

Our  great  Redeemer's  praise, 
The  stones,  our  silence  shaming, 

Might  well  hosanna  raise. 
But  shall  we  only  render 

The  tribute  of  our  words? 
No;  while  our  hearts  are  tender, 

They,  too,  shall  be  the  Lord's. 

While  the  hymn  is  loved  and  extensively  used,  there 
seems  to  be  great  difficulty  in  determining  the  facts  of  its 
authorship.  It  is  credited  to  a  young  curate  of  Welling- 
ton, Shropshire,  whose  name  was  Joshua  King.  Some 
would  change  the  Joshua  to  John.  It  was  first  published 
in  London  in  1830  in  a  selection  of  hymns  called  "Gwyther's 
Psalmist."    Even  if  we  know  little  of  the  origin  or  the 


8o  FAVORITE  HYMNS 

author,  we  sing  it  because  of  its  fitness  and  beauty,  and 
find  in  it  special  inspiration. 

A  Hymn  with  which  to  Begin  Holy  Week 

Dr.  John  Mason  Neale,  who  was  a  prolific  translator  of 
hymns,  has  furnished  us  a  short  but  very  appropriate 
hymn,  which  is  especially  fitting  to  be  sung  on  Palm  Sunday 
evening.  The  circumstances  of  its  composition  are  not 
given,  but  the  lines  themselves  are  so  expressive  that  they 
have  found  and  will  retain  a  place  in  evangelical  hynmody. 
We  quote 

DR.   NEALE's  hymn  FOR  HOLY  WEEK 

O  Thou,  who  through  this  holy  week 

Didst  suffer  for  us  all; 
The  sick  to  cure,  the  lost  to  seek, 

To  raise  them  up  that  fall; 

We  cannot  understand  the  woe 

Thy  love  was  pleased  to  bear; 
O  Lamb  of  God,  we  only  know 

That  all  our  hopes  are  there! 

Thy  feet  the  path  of  suffering  trod; 

Thy  hand  the  victory  won; 
What  shall  we  render  to  our  God 

For  all  that  He  hath  done? 

The  one  day  of  triumph  for  Jesus,  the  day  of  His 
triumphal  entry  into  Jerusalem,  necessarily  makes  us  think 
of  that  hymn  which  Dr.  Duffield  declares  "  has  become 
the  English  Te  Deum,"  sharing  with  Bishop  Ken's  doxology 
the  spontaneous  approval  of  all  Christian  hearts.  We  may 
well  call  it 


HYMNS  FOR  PALM  SUNDAY  8 1 

THE   CORONATION  HYMN  OF  CHRIST 

All  hail  the  power  of  Jesus'  name! 

Let  angels  prostrate  fall; 
Bring  forth  the  royal  diadem, 

And  crown  Him  Lord  of  all. 

Ye  chosen  seed  of  Israel's  race, 

Ye  ransomed  from  the  fall, 
Hail  Him  who  saves  you  by  His  grace, 

And  crown  Him  Lord  of  all. 

Hail  Him,  ye  heirs  of  David's  line, 

Whom  David  Lord  did  call; 
The  God  incarnate,  Man  divine; 

And  crown  Him  Lord  of  all. 

Ye  Gentile  sinners,  ne'er  forget 

The  wormwood  and  the  gall; 
Go,  spread  your  trophies  at  His  feet, 

And  crown  Him  Lord  of  all. 

Let  every  kindred,  every  tribe. 

On  this  terrestrial  ball, 
To  Him  all  majesty  ascribe. 

And  crown  Him  Lord  of  all. 

Oh,  that  with  yonder  sacred  throng 

We  at  His  feet  may  fall; 
We'll  join  the  everlasting  song, 

And  crown  Him  Lord  of  all. 


The  author  of  this  hymn,  the  Rev.  Edward  Perronet, 
was  descended  from  French  refugees.  He  was  what  is 
known  £ls  a  dissenting  preacher,  who,  for  a  time,  was  an 
intimate  associate  of  the  Wesleys.  Like  Mrs.  Adams,  the 
author  of  "Nearer,  My  God,  to  Thee,"  he  wrote  many 
hymns;  but,  like  Mrs.  Adams,  he  wrote  only  one  really 


82  FAVORITE  HYIMNS 

great  hymn.  Of  this  hymn  it  has  been  said,  ''That  one 
hymn  was  enough;  the  man  did  not  Hve  in  vain  who 
taught  Christ's  Church  her  grandest  coronation  hymn  in 
honor  of  her  King." 

This  hymn  was  written  in  1779  and  published  in  The 
Gospel  Magazine  in  1780.  In  England  it  is  usually  sung 
to  the  tune  of  "Miles  Lane,"  but  in  America  it  is  nearly 
always  sung  to  the  tune  of  ''Coronation."  This  tune  was 
composed  by  a  carpenter  by  the  name  of  Oliver  Holden. 
It  is  a  soul-stirring  tune,  which,  associated  with  Perronet's 
stirring  words,  will  certainly  preserve  the  carpenter's  name 
to  future  generations. 

There  is  a  striking  incident  from  the  mission  fields  in 
India  which  illustrates  the  power  of  this  hymn  in  the 
presenting  of  Christ  in  His  unique  position  as  man's 
Redeemer.  A  missionary,  the  Rev.  E.  P.  Scott,  having 
learned  of  an  inland  tribe  which  had  never  heard  the  gospel 
and  that  it  was  exceedingly  dangerous  to  go  among  them 
because  of  a  murderous  spirit  and  propensity,  felt,  never- 
theless, that  because  he  had  learned  of  them  God  wanted 
him  to  take  the  gospel  to  them.  He  took  his  satchel  and 
a  violin,  and,  bidding  farewell  to  his  friends,  who  said  it 
was  simply  madness,  he  set  out.  After  journeying  for 
some  days  suddenly  he  came  upon  a  large  company  of 
these  savage  people.  They  surrounded  him  and  had  their 
spears  pointed  at  his  heart.  Praying  for  aid,  he  drew 
forth  his  violin,  played  and  sang,  "All  Hail  the  Power  of 
Jesus'  Name."  He  shut  his  eyes  through  fear,  expecting 
at  every  note  to  have  the  spears  hurled  at  him  and  the 
song  be  brought  to  a  sudden  and  cruel  end.  As  he  sang, 
"Let  every  kindred,  every  tribe,"  he  took  courage  to  open 
his  eyes  and  look.  To  his  surprise,  the  spears  were  lowered 
and  the  savages  were  all  attention,  some  of  them  even 


HYMNS  FOR  PALM  SUNDAY  83 

having  tears  in  their  eyes.  He  stayed  there  and  established 
a  mission.  When  he  left  for  a  needed  furlough  on  account 
of  his  health  they  pleaded  with  him  to  come  back.  He  did 
so,  and  entered  into  his  eternal  reward  with  those  savages 
acknowledging  Christ  as  their  King.  They  first  heard  of 
Him  through  the  words,  ''AH  hail  the  power  of  Jesus' 
name,"  sung  to  the  tune  of  "Coronation." 

The  triumphant  thought  of  the  closing  line  of  every 
stanza  is  "And  crown  Him  Lord  of  all."  In  the  beautiful 
Cologne  Cathedral  there  is  an  image  which  illustrates  this 
thought.  The  image,  which  is  made  of  oak,  represents  a 
giant  Offero,  in  search  of  a  master.  He  served  a  great 
king  until  he  learned  that  the  prince  of  darkness  was 
mightier  than  the  king.  He  then  began  to  serve  Satan, 
but  walking  with  Satan  they  came  to  a  crucifLx.  Satan 
trembled  and  would  not  pass,  for  he  admitted  "that  Christ, 
who  rules  in  heaven  and  had  suffered  on  the  cross  for  men, 
had  overcome  him."  Then  Offero  took  Christ  for  his 
Master.  He  never  had  to  change  masters  again,  for  he 
had  found  Him  who  in  the  words  of  Perronet  is  "Lord  of 
all." 

Both  the  hymn  and  the  day  emphasize  the  kingly  office 
of  Christ,  which  fact  calls  to  mind  another  hymn  by  the 
same  writer,  written  about  five  years  later,  or  in  1785. 
This  hymn  is  a  greeting  to  Christ  as  our  King.  The 
opening  stanza  declares, 

"Hail,  holy,  holy,  holy  Lord! 
Let  powers  immortal  sing. 
Adore  the  co-eternal  word, 
Rejoice,  the  Lord  is  King!" 


EASTER  HYMNS 


(< 


G 


HE  strife  is  o'er,  the  battle  done!"  is  the  expression 
of  the  attitude  of  the  Christian  as  he  welcomes 
Easter  with  its  messages  of  victory.  Even  more 
joyful  than  Christmas,  yet  how  different  the 
note.  That  was  the  child's  festival,  and  there  was  much 
of  joy  in  anticipation.  The  spirit  of  the  day  warranted  the 
tone  of  merriment  in  the  melody.  The  leading  note  now 
is  equally,  if  not  more  joyful;  but  it  is  the  note  of  deepest 
joy  in  fullest  realization;  the  songs  of  victory  which  come 
from  the  throats  of  strong  men  and  old  men  as  well  as  of 
women  and  of  children.  They  are  a  mighty  host  rejoicing 
over  the  battles  of  the  Lord  and  the  victory  which  is 
final  and  complete.  This  is  the  thought  which  should  be 
in  our  minds  as  we  consider,  and  select  "Our  Favorite 
Easter  Hymns." 

This  sentiment  prevailed  in  the  early  Church.  Hence 
it  is  that  the  hymn  which  to  us  is  familiar  from  its  first 
line,  which  reads: 

"The  strife  is  o'er,  the  battle  done!" 

was  produced  in  the  twelfth  century,  and  is  a  product  of 
the  ancient  Latin  Church.  In  the  original  the  first  line 
reads: 

"Finita  Jam  sunt  praelia!" 

A  double  "Alleluia"  is  generally  prefixed  to  the  several 
stanzas  of  this  hymn.    It  is  the  Christian  note  which  is 

84 


EASTER  HYMNS  85 


very  much  like  the  warrior's  shout  when  his  enemy  flees 
and  he  knows  the  victory  is  his. 

The  hymn  is  known  to  EngUsh  readers  through  two  very 
good  translations.  These  were  made  by  the  Rev.  Francis 
Pott  and  Dr.  Neale.  The  former's  translation  is  that 
which  is  used  in  our  own  hymn  books. 

Rev.  Pott,  a  clergyman  of  the  Church  of  England,  was 
born  December  29,  1832.  In  addition  to  being  a  success- 
ful translator  of  hymns  he  is  the  author  of  a  number  of 
original  hymns.  Among  these,  perhaps,  his  best  and  most 
favorably  knowTi  hynm  is  the  one  which  begins,  "Angel 
voices  ever  singing." 

A  HYMN   OF   STRIFE   AND   VICTORY 

The  strife  is  o'er,  the  battle  done! 
The  victory  of  Ufa  is  won; 
The  song  of  triumph  has  begun, 
Hallelujah! 

The  pow'rs  of  death  have  done  their  worst, 
But  Christ  their  legions  hath  dispersed; 
Let  shouts  of  holy  joy  outburst, 
Hallelujah! 

The  three  sad  days  are  quickly  sped; 
He  rises  glorious  from  the  dead: 
All  glory  to  our  risen  Head! 
HaUelujah! 

He  closed  the  yawning  gates  of  Hell; 
The  bars  from  Heav'n's  high  portals  fell! 
Let  hymns  of  praise  His  triumphs  tell! 
Hallelujah! 

Lord!  by  the  stripes  which  wounded  Thee, 
From  Death's  dread  sting  Thy  servants  free. 
That  we  may  live,  and  sing  to  Thee, 
Hallelujah! 


86  FAVORITE  HYMNS 

Another  Latin  hymn  which  is  in  common  use  at  Easter 
is  ''Welcome,  happy  morning,  Age  to  age  shall  say." 
In  the  original  this  hymn  contained  many  verses,  beginning 
with  the  expression  ''Salva  Festa  dies."  The  author  of 
this  hymn  was  Fortunatus.  His  full  name  was  Venantius 
Honorius  Clementianus  Fortunatus.  He  was  born  about 
530  A.  D.,  and  died  about  609  A.  D.,  at  Poitiers.  His 
career  was  quite  romantic.  He  was  very  poetical,  and 
through  his  poetry  gained  the  favor  of  King  Sigibert,  of 
Auslrasia,  at  whose  court  he  lived.  Later  he  went  to 
Tours  and  afterward  to  Poitiers,  where  he  entered  a 
monastery  and  became  bishop  of  Poitiers  in  599  A.  D. 
Our  readers  would  find  his  life-story  a  very  profitable  and 
interesting  bit  of  reading. 

The  hymn,  as  we  have  it  and  as  it  is  most  generally  used, 
was  translated  and  abridged  by  John  Ellerton.  In  many 
respects  this  beautiful  hymn  supplements  the  strife  and 
victory  song  which  we  have  just  given.  It  sums  up  most 
instructively  the  fruits  of  the  victory  which  Jesus  wins  for 
us  in  His  resurrection.  There  are  a  number  of  interesting 
stories  associated  with  this  ancient  hymn  of  the  Church. 
They  show  how  precious  its  truths  must  have  been  to 
men  in  trials  and  perils.  We  give  an  instance  to  increase 
the  reader's  appreciation  of  the  hymn. 

Jerome  of  Prague,  on  his  way  to  execution,  sang  several 
hymns.  This  ancient  hymn  by  the  bishop  of  Poitiers 
was  one  of  those  which  he  sang.  After  singing  it,  as  the 
fire  enveloped  him,  he  cried,  ''This  soul  in  flames  I  offer, 
Lord  to  Thee,"  and  died. 

Archbishop  Cranmer,  of  Canterbury,  in  1544  made  an 
English  version  of  this  Easter  hymn  of  "Welcome." 
He  at  the  same  time  recommended  its  adoption  and  use  in 
the  English  church.    This  document  is  still  in  existence. 


EASTER  HYMNS  87 


A   HYMN   WHICH   WAS    SUNG   IN   THE   FIRE 

Welcome,  happy  morning!  age  to  age  shall  say. 
Hell  today  is  vanquished;  heaven  is  won  today! 
Lo!  the  Dead  is  Hving,  God  for  evermore! 
Him,  their  true  Creator,  all  His  works  adore. 
Welcome,  happy  morning!  age  to  age  shall  say, 
Hell  today  is  vanquished;  heaven  is  won  today! 

Earth  her  joy  confesses,  clothing  her  for  spring, 
All  good  gifts  returned  with  her  returning  King; 
Bloom  in  every  meadow,  leaves  on  every  bough, 
Speak  His  sorrows  ended,  hail  His  triumph  now. 
Welcome,  happy  morning!  age  to  age  shall  say, 
Hell  today  is  vanquished;  heaven  is  won  today! 

Months  in  due  succession,  days  of  lengthening  light, 
Hours  and  passing  moments  praise  Thee  in  their  flight, 
Brightness  of  the  morning,  sky  and  fields  and  sea. 
Vanquisher  of  darkness,  bring  their  praise  to  Thee. 
Welcome,  happy  morning!  age  to  age  shall  say, 
Hell  today  is  vanquished;  heaven  is  won  today! 

Maker  and  Redeemer,  Life  and  Health  of  all, 
Thou  from  heaven  beholding  human  nature's  fall, 
Of  the  Father's  Godhead,  true  and  only  Son, 
Manhood  to  deliver,  manhood  didst  put  on. 
Welcome,  happy  morning!  age  to  age  shall  say, 
Hell  today  is  vanquished;  heaven  is  won  today! 

Thou,  of  life  the  Author,  death  didst  undergo, 
Tread  the  path  of  darkness,  saving  strength  to  show; 
Come  then.  True  and  Faithful,  now  fulfil  Thy  word; 
'Tis  Thine  own  third  morning:  rise,  O  buried  Lord! 
Welcome,  happy  morning!  age  to  age  shall  say. 
Hell  today  is  vanquished;  heaven  is  won  today! 

Loose  the  souls  long  prisoned,  bound  with  Satan's  chain; 

All  that  now  is  fallen  raise  to  life  again; 

Show  Thy  face  in  brightness,  bid  the  nations  see; 

Bring  again  our  dayhght;  day  returns  with  Thee! 

Welcome,  happy  morning!  age  to  age  shall  say, 

Hell  today  is  vanquished;  heaven  is  won  today! 


88  FAVORITE  HYMNS 

The  great  Luther  achieved  some  of  his  greatness  through 
his  hymns,  the  influence  of  which  there  were  those  who 
dreaded  as  much  as  they  did  his  sermons.  His  great  and 
hopeful  heart  compelled  a  vigor  and  a  melody  confident  of 
victory.  Strong  of  faith,  fearless  of  consequences  in  the 
battles  which  he  waged  for  the  Lord  in  the  Reformation  of 
the  Church,  his  hymns  have  a  ruggedness  and  a  strength 
which  are  found  both  in  the  words  and  the  melody  which 
mark  them  as  distinct  and  peculiarly  and  distinctively 
evangelical.  Without  exception  Luther's  hymns  in 
thought,  wording  and  melody  reflect  the  spirit  of  the 
Reformation,  and  their  use  will  materially  increase  faith, 
devotion  and  churchliness. 

This  historic  background  of  the  man  and  the  times  will 
help  us  to  appreciate  his  grand  Easter  hymn,  which  in  its 
English  dress  appears  to  us  as  beginning  thus: 

"Christ  Jesus  lay  in  death's  strong  bands, 
For  our  offences  given." 

The  German  hymn  was  first  published  at  Erfurt  in  1524. 
The  hymn  was  based  on  an  old  Latin  hymn,  "Victimae 
Paschali  Laudes."  It  was  a  sequence  of  the  eleventh  or 
twelfth  century.  There  were  earlier  German  translations 
also;  but  while  these  earlier  German  and  Latin  hymns  and 
the  Scriptural  notices  of  the  Passover  lamb  furnished  Lu- 
ther the  material  of  this  beautiful  hymn,  yet  the  working 
out  is  entirely  original  and  the  result  is  a  hymn  which  is 
second  only  to  his  unequaled  "A  mighty  fortress  is  our 
God."  Like  the  Reformation  itself,  which  looked  back- 
ward and  gathered  out  of  the  ancient  Church  all  that  was 
good  and  true  and  purified  it,  making  it  truly  a  Church  of 
Luther,  yet  really  the  Church  of  Christ,  so  in  this  hymn 
Luther  makes  actually  his  own  that  which  was  ancient,  but 


EASTER  HYMNS  89 


which  comes  out  in  a  Reformation  mould,  which  has  given 
to  us  one  of  the  most  expressive  of  our  Easter  hymns. 

There  are  at  least  four  different  translations  of  this 
Luther  hymn  which  have  merit.  That  which  probably 
best  expresses  the  thought  and  breathes  the  spirit  of 
Luther  is  the  translation  by  Richard  Massie.  He  made 
it  in  1854.  It  appears  in  "Martin  Luther's  Spiritual 
Songs."  We  are  glad  to  have  these  English  translations 
of  the  old  historic  hymns  of  the  Church;  but  to  enter  fully 
into  their  spirit  it  will  in  all  cases  be  helpful  to  know  the 
original  text. 

LUTHER 'S    EASTER   HYMN 

Christ  Jesus  lay  in  Death's  strong  bands, 

For  our  offences  given; 
But  now  at  God's  Right  Hand  He  stands, 

And  brings  us  life  from  heaven: 
Wherefore  let  us  joyful  be, 
And  sing  to  God  right  thankfully 

Loud  songs  of  Alleluia! 
Alleluia! 

It  was  a  strange  and  dreadful  strife, 

When  Life  and  Death  contended; 
The  victory  remained  with  Life, 
The  reign  of  Death  was  ended; 
Stript  of  power,  no  more  he  reigns; 
An  empty  form  alone  remains; 

His  sting  is  lost  for  ever! 
Alleluia! 

So  let  us  keep  the  festival 

Whereto  the  Lord  invites  us; 
Christ  is  Himself  the  joy  of  all, 

The  Sun  that  warms  and  lights  us; 
By  His  grace  He  doth  impart 
Eternal  sunshine  to  the  heart; 

The  night  of  sin  is  ended! 
Alleluia! 


go  FAVORITE  HYMNS 


Then  let  us  feast  this  Easter  day 

On  the  true  Bread  of  heaven; 
The  word  of  grace  hath  purged  away 

The  old  and  wicked  leaven: 
Christ  alone  our  souls  will  feed; 
He  is  our  Meat  and  Drink  indeed; 

Faith  lives  upon  no  other! 
Alleluia! 

AN  EASTER   HYMN   FROM   THE   LATIN 

Christ  the  Lord  is  ris'n  today; 
Christians,  haste  your  vows  to  pay; 
Offer  ye  your  praises  meet 
At  the  Paschal  victim's  feet. 
For  the  sheep  the  Lamb  hath  bled, 
Sinless  in  the  sinner's  stead; 
''Christ  is  ris'n,"  today  we  cry; 
Now  He  lives  no  more  to  die. 

Christ,  the  victim  undefiled, 
Man  to  God  hath  reconciled; 
While  in  strange  and  awful  strife 
Met  together  Death  and  Life: 
Christians,  on  this  happy  day 
Haste  with  joy  your  vows  to  pay; 
^'Christ  is  ris'n,"  today  we  cry; 
Now  He  lives  no  more  to  die. 

Christ,  who  once  for  sinners  bled, 
Now  that  first-born  from  the  dead, 
Throned  in  endless  might  and  power, 
Lives  and  reigns  for  evermore. 
Hail,  Eternal  Hope  on  high! 
Hail,  Thou  King  of  victory! 
Hail,  Thou  Prince  of  Hfe  adored! 
Help  and  save  us,  gracious  Lord. 

This  hymn  is  another  which  has  come  to  us  from  the 
Latin.     It  has  sometimes  been  credited  to  Nother,  of  St. 


EASTER  HYMNS  91 


Gall;  but  it  is  more  likely  a  hymn  of  the  eleventh  or  twelfth 
century.  The  oldest  book  in  which  it  has  been  found  is 
the  "Lyra  Davidica,"  which  was  published  in  1708  A.  D. 
The  translation  in  use  was  made  by  a  ^liss  Jane  Leeson, 
who  has  published  a  number  of  hymns  under  the  title  of 
''Hymns  and  Scenes  of  Childhood."  Little  if  anything  is 
known  of  her  personal  history.  Yet  her  name  will  live, 
for  she  wrote  the  hymn: 

"Saviour,  teach  me  day  by  day, 
Love's  sweet  lesson  to  obey." 

Though  we  know  so  little  of  her,  yet  we  remember  her, 
and  she  did  not  live  in  vain.  Her  prayer  is  the  petition  of 
many  a  child  which  sounds  sweetly  into  the  ear  of  the 
Saviour,  our  Master  Teacher. 

A   BOHEMIAN   EASTER   HYMN 

Christ  the  Lord  is  risen  again; 
Christ  hath  broken  every  chain; 
Hark,  angelic  voices  cry. 
Singing  evermore  on  high, 

Alleluia! 

He  Who  gave  for  us  His  life, 
Who  for  us  endured  the  strife, 
Is  our  Paschal  Lamb  today; 
We,  too,  sing  for  joy,  and  say, 

Alleluia! 

He  Who  bore  all  pain  and  loss 
Comfortless  upon  the  Cross, 
Lives  in  glory  now  on  high. 
Pleads  for  us  and  hears  our  cry. 

Alleluia! 


92  FAVORITE  HYMNS 

He  Who  slumbered  in  the  grave, 
Is  exalted  now  to  save; 
Now  through  Christendom  it  rings 
That  the  Lamb  is  King  of  kings, 

Alleluia! 

Thou  our  Paschal  Lamb  indeed, 
Christ,  Thy  ransomed  people  feed; 
Take  our  sins  and  guilt  away, 
That  we  all  may  sing  for  aye, 

Alleluia! 


This  is  an  Easter  hymn  from  the  first  hymn  book  of  the 
Bohemian  Brethren.  It  appeared  in  1 53 1 .  These  ''Breth- 
ren" allied  themselves  in  the  time  of  the  Reformation  with 
Luther.  In  their  doctrines  they  laid  special  stress  on  the 
Eucharist  in  both  kinds  for  the  communicants,  namely, 
that  they  should  have  both  the  bread  and  the  wine; 
the  preaching  of  God's  word  should  be  free  to  every  man; 
the  clergy  should  have  no  temporal  authority;  public 
crimes  should  be  punished.  In  modern  times  Count 
Zinzendorf  revived  their  teachings,  and  we  have  their 
successors  in  the  Moravian  Church.  The  German  original 
of  this  hymn  begins: 

"Christus  ist  erstanden  von  des  Todes  Banden." 

It  is  credited  in  its  German  form  to  Michael  Weisse.  It 
evidently,  however,  was  suggested  by  a  still  older  hymn, 
which  begins: 

"Christ  ist  erstanden  von  der  Marter  alle." 

It  goes  back  in  its  original  to  at  least  the  twelfth  century. 
The  translation,  which  is  used  in  English,  is  that  of  Miss 


EASTER  HYMNS  93 


Winkworth,  who  has  been  very  busy  with  her  pen  in  serv- 
ing the  Church  by  furnishing  many  of  the  beautiful  trans- 
lations of  ancient  hymns.  Michael  Weisse,  like  Luther, 
did  much  to  enrich  German  hynmology.  His  work  was 
principally  translations  from  the  ancient  Latin. 

How  rich  German  hymnology  is!  Our  blood  and  our 
tongue  are  English;  but  when  we  begin  to  look  for  our 
favorite  hymns  we  must  often  turn  to  those  which  come 
from  the  land  of  Luther.  So  it  is  that  Christian  F. 
Gellert  has  furnished  us  a  splendid  Easter  hymn  which  is  a 
great  favorite  and  has  come  into  almost  general  use  in 
English  hymn  books.    That  hymn  in  the  original  begins: 

"Jesus  Lebt!  mit  Ihm  auch  ich." 

This  hymn  was  first  published  at  Leipzig  in  1757. 
It  was  in  six  six-line  stanzas.  The  keynote  of  the  hymn 
is  to  be  found  in  John  14  :  19.  It  is  his  finest  hymn  and 
has  its  own  peculiar  lyric  character.  For  the  last  fifty 
years  there  has  scarcely  been  a  hymn  book  of  any  im- 
portance in  English-speaking  countries  which  has  not 
contained  it.  This  alone  should  assure  it  a  place  among 
the  favorite  hymns. 

While  originally  written  as  an  Easter  hymn,  it  has  also 
found  its  way  into  favor  as  a  hymn  for  the  dying  and  also 
for  use  at  the  consecration  of  cemeteries.  It  is  often  sung 
at  funerals.  Notable  occasions  have  been  in  St.  Paul's, 
London,  at  the  funeral  of  the  Lord  Mayor  G.  S.  Nottage, 
April  18,  1885;  also  that  of  Bishop  McDougall,  of  Labuan, 
in  Winchester  Cathedral.  How  our  appreciation  of  the 
old  hymns  increases  as  we  learn  their  history. 

No  Easter  is  complete  without  the  singing  of  Charles 
Wesley's  grand  Easter  hymn,  which  tells  the  Easter  story 


94  FAVORITE  HYMNS 

and  raises  us  with  the  story  to  a  new  life  in  a  way  which 
is  inspiring.  The  original  hymn  had  eleven  stanzas.  It 
appeared  in  1739.  The  hymn,  sung  to  an  adaptation  of 
Handel's  ''See  the  conquering  Hero  comes,"  is  "a,  sermon 
in  song." 

The  effect  of  this  hymn  is  illustrated  by  an  incident. 
It  afforded  great  comfort  to  Thomas  Lacy,  an  earnest 
English  Methodist.  On  Easter  morning  he  repeated  the 
first  stanza  to  his  sister.  His  voice  in  his  physical  weakness 
faltered.  At  its  close  he  was  told  that  death  was  near. 
"Then,"  he  replied,  "I  have  a  pleasant  prospect  before 
me." 

Wesley's  easter  sermon  in  song 

Christ  the  Lord  is  risen  today, 
Sons  of  men  and  angels  say. 
Raise  your  joys  and  triumphs  high; 
Sing,  ye  heavens,  and  earth  reply. 

Love's  redeeming  work  is  done, 
Fought  the  fight,  the  battle  won; 
Lo!  the  Sun's  eclipse  is  o'er; 
Lo!  He  sets  in  blood  no  more. 

Vain  the  stone,  the  watch,  the  seal; 
Christ  has  burst  the  gates  of  hell! 
Death  in  vain  forbids  His  rise; 
Christ  hath  opened  Paradise. 

Lives  again  our  glorious  King; 
Where,  O  Death,  is  now  thy  sting? 
Dying  once,  He  all  doth  save. 
Where  thy  victory,  O  Grave? 

Soar  we  now  where  Christ  hath  led, 
Following  our  exalted  Head: 
Made  like  Him,  like  Him  we  rise; 
Ours  the  cross,  the  grave,  the  skies! 


CHARLES  WESLEY 


EASTER  HYMNS  95 


Hail,  the  Lord  of  earth  and  heaven! 
Praise  to  Thee  by  both  be  given: 
Thee  we  greet  triumphant  now; 
Hail,  the  Resurrection  Thou! 

Charles  Wesley,  the  author  of  this  hymn,  was  the  greatest 
hymn  writer  of  the  Wesley  family,  and  it  was  a  large  and  a 
noted  one,  Charles  being  the  eighteenth  child  of  Samuel 
and  Susanna  Wesley.  He  is  the  author,  it  is  said,  of  6500 
hymns.  He  was  a  Methodist  clergyman,  and  is  knowTi  as 
one  of  the  ''Oxford  Methodists."  A  good  Methodist,  he 
has  wTitten  not  a  few  hymns  which  the  various  churches 
wdth  practical  unanimity  have  taken  up  and  adopted  into 
the  family  of  good  Evangelical  hyTnns.  "Christ  the  Lord 
is  risen  today,"  the  lines  of  which  usually  end  with  the 
"Hallelujah,"  is  one  of  them. 

The  origin  of  that  ancient  hymn,  "The  day  of  Resurrec- 
tion," and  the  occasion  of  its  singing  are  so  interesting 
and  suggestive  that  we  conclude  with  the  ston^  of  this 
h>Tnn  which  is  necessary  to  the  completion  of  the  songs 
of  the  sanctuary  at  Easter  time.  Dr.  John  Mason  Neale, 
the  translator,  calls  it  a  "glorious  old  hymn  of  \dctory." 
It  is  part  of  the  canon  for  Easter  of  John  Damascus,  who 
died  780  A.  D. 

The  circumstances  of  this  old  song  are  very  interesting. 
The  scene  was  at  Athens.  We  are  told  that  as  midnight 
approached  the  archbishop  and  the  priests,  accompanied 
by  the  king  and  the  queen,  left  the  church  and  stationed 
themselves  on  the  pla  tf orm,  which  was  raised  considerably 
above  the  ground.  This  was  in  order  that  the  concourse 
of  people  might  have  a  good  view.  A  vast  throng  stood 
in  breathless  expectation.  All  held  unhghted  tapers,  in 
readiness  for  when  the  glad  moment  should  arrive.  Mean- 
while the  priests  murmured  a  melancholy  chant.     Suddenly 


96  FAVORITE  HYMNS 

a  cannon  announced  that  midnight  had  passed  and  Easter 
Day  had  begun.  The  archbishop  elevated  the  cross  and 
exclaimed  exultantly,  "Christos  Anesti,"  which  is,  "Christ 
is  risen."  Everyone  instantly  took  up  the  cry.  The  vast 
multitude  broke  through  and  dispelled  the  intense  and 
mournful  silence.  "Christ  is  risen!  Christ  is  risen!" 
echoed  and  re-echoed  everywhere.  The  darkness  was 
instantly  superseded  by  a  blaze  of  light.  Thousands  of 
tapers,  like  streams  of  fire,  gleamed  in  all  directions. 
The  roll  of  the  drum  and  the  peal  of  the  cannon  resounded 
throughout  the  town.  Rockets  from  both  hill  and  plain 
shot  skyward.  Meanwhile  the  aged  priests  chanted 
joyfully,  "Christ  is  risen  from  the  dead,  having  trampled 
death  beneath  His  feet,  and  henceforth  they  that  are  in 
the  tombs  have  everlasting  life."  Out  of  this  has  grown 
our  Easter  hymn,  "The  day  of  resurrection." 


AN   ANCIENT   EASTER   HYMN 

The  day  of  Resurrection! 

Earth,  tell  it  out  abroad! 
The  Passover  of  gladness, 

The  Passover  of  God! 
From  death  to  Life  eternal, 

From  earth  unto  the  sky, 
Our  Christ  hath  brought  us  over, 

With  hymns  of  victory. 

Our  hearts  be  pure  from  evil. 

That  we  may  see  aright 
The  Lord  in  rays  eternal 

Of  resurrection  light: 
And  listening  to  His  accents, 

May  hear,  so  calm  and  plain, 
His  own  "All  hail!"— and,  hearing, 

May  raise  the  victor  strain. 


EASTER  HYMNS  97 


Now  let  the  heavens  be  joyful! 

Let  earth  her  song  begin! 
Let  all  the  world  keep  triumph, 

And  all  that  is  therein: 
In  grateful  exultation 

Their  notes  let  all  things  blend, 
For  Christ  the  Lord  hath  risen, 

Our  Joy  that  hath  no  end. 

In  our  celebration  of  the  grand  old  festival,  after  v^^e  have 
learned  that  there  is  so  much  meaning  and  history  in  the 
old  hymns  which  are  our  favorites,  can  we  rob  ourselves 
of  much  of  the  joy  and  of  the  blessing  of  the  Easter  time 
by  omitting  them  from  our  services,  and,  perhaps,  sub- 
stituting meaningless  ditties,  which  have  as  their  sole 
argument  for  their  introduction  the  newness  of  their  manu- 
factured jingles  which  appeal  to  the  emotions,  but  carry 
with  them  nothing  w^hich  is  historic  or  fundamental  to  the 
greatest  fact  of  our  redemption — the  resurrection  of  our 
Lord? 


SHEPHERD  HYMNS 


J^s^  HE  Saviour  Himself  has  styled  Himself  the  Good 

^^      Shepherd.     The  figure  is   so  beautiful  and  ap- 

^S8S     propriate  that  it  appeals  strongly  to  all  Christians. 

For  this  reason  quite  a  few  of  the  hymns  which 

Christians  especially  love  are  hymns  to  the  Good  Shepherd 

or  which  recognize  Christians  as  the  sheep  of  the  Saviour's 

flock. 

Isaac  Watts  has  given  us  one  of  these  hymns.  Written 
in  1 7 19  it  combines  in  the  stanzas  the  recognition  of  Christ 
as  the  Shepherd  and  the  blessings  which  come  to  those 
who  are  of  His  flock.  Mr.  W.  T.  Stead  says  of  this 
hymn  that  it  is  distinctively  a  Scotch  hymn;  but,  like  some 
of  the  old  German  and  ancient  Latin  hymns  it  has  become 
international  and  belongs  to  all  Christians  who  recognize 
in  Jesus  the  Good  Shepherd.  The  hymn  is  an  elaboration 
of  the  23d  Psalm.  Who  does  not  claim,  know  and  love 
that  beautiful  Shepherd  Psalm? 

watts'     versification    of    the    23D    PSALM 

The  Lord  my  Shepherd  is, 

I  shall  be  well  supplied: 
Since  He  is  mine,  and  I  am  His, 

What  can  I  want  beside? 

He  leads  me  to  the  place 
Where  heavenly  pasture  grows, 

Where  living  waters  gently  pass. 
And  full  salvation  flows. 
98 


"/  am  the  good  Shepherd,  and  know  My  sheep, 
and  am  known  of  mine." 


SHEPHERD  HYMNS  99 


If  e'er  I  go  astray, 

He  doth  my  soul  reclaim, 
And  guides  me  in  His  own  right  way, 

For  His  most  holy  Name. 

While  He  affords  His  aid, 

I  cannot  yield  to  fear: 
Though  I  should  walk  thro'  death's  dark  shade, 

My  Shepherd's  with  me  there. 

The  bounties  of  Thy  love 

Shall  crown  my  following  days; 
Nor  from  Thy  house  will  I  remove, 

Nor  cease  to  speak  Thy  praise. 


A  hymn  for  the  children  which  is  growing  in  use  and 
favor,  but  of  which  the  author  is  unknown,  and  which 
appeals  very  strongly  to  the  imagination  of  the  little  ones 
is  the  hymn  of  W'hich  the  first  stanza  is, 

Saviour,  hke  a  shepherd  lead  us. 

Much  we  need  Thy  tend'rest  care; 
In  Thy  pleasant  pastures  feed  us, 

For  our  use  Thy  folds  prepare. 
II  :  Blessed  Jesus,  Blessed  Jesus, 

Thou  hast  bought  us.  Thine  we  are.  :  || 

Another  beautiful  child's  hymn  based  on  the  idea  of 
Jesus  as  the  Good  Shepherd  comes  to  us  from  the  pen  of  a 
German  woman,  Henrietta  Louise  von  Ha}Ti.  The  writer 
was  a  teacher  in  a  Girl's  School  at  Herrnhut,  where  she 
died  in  1782.  She  was  a  poetess  of  some  merit,  her  writings 
reflecting  a  fervent  love  for  Christ.  She  wrote  about  forty 
hymns  which  have  found  their  way  into  the  hymn  books  of 
the  Moravian  Church.     Only  one  of  these  has  come  into 


lOO  FAVORITE  HYMNS 

use  among  English  people  other  than  the  Moravians. 
This  is  her  hymn  which  regards  children  as  Iambs  of  the 
Good  Shepherd,  the  first  line  of  which  in  German  is, 
"Weil  ich  Jesu  Schaflein  bin."  There  are  several  English 
translations,  the  one  following  being  the  best  known. 

MISS  VON  HAYN's  hymn  OF  THE  LAMBS 

I  am  Jesus'  little  lamb, 

Ever  glad  at  heart  I  am; 

Jesus  loves  me,  Jesus  knows  me, 

All  things  fair  and  good  He  shows  me, 

Even  calls  me  by  name; 

Every  day  He  is  the  same. 

Safely  in  and  out  I  go, 
Jesus  loves  and  keeps  me  so, 
When  I  hunger  Jesus  feeds  me; 
When  I  thirst,  my  Shepherd  leads  me 
Where  the  waters  softly  flow. 
Where  the  sweetest  pastures  grow. 

Should  I  not  be  always  glad? 
None  whom  Jesus  loves  are  sad; 
And  when  this  short  life  is  ended 
Those  whom  the  God  Shepherd  tended 
Will  be  taken  to  the  skies, 
There  to  dwell  in  Paradise. 


Another  woman  has  written  a  hymn  which  is  exceedingly 
popular  with  the  children,  and  which  under  the  figure  of 
Jesus  gathering  the  lambs  tells  very  beautifully  the  sweet 
story  of  Jesus  and  of  how  we  may  come  to  Him  and  finally 
go  to  Him  to  be  with  Him  as  those  who  are  the  lambs  of 
the  kingdom  of  heaven.    The  hymn  is  called, 


SHEPHERD  HYMNS  lOl 

"a  hymn  of  the  love  of  JESUS " 

I  think,  when  I  read  that  sweet  story  of  old, 

When  Jesus  was  here  among  men, 
How  He  called  Httle  children  as  lambs  to  His  fold, 

I  should  like  to  have  been  with  them  then. 

I  wish  that  His  hands  had  been  placed  on  my  head, 
That  His  arm  had  been  thrown  around  me, 

And  that  I  might  have  seen  His  kind  look  when  He  said, 
*'Let  the  Httle  ones  come  unto  Me." 

Yet  still  to  His  footstool  in  prayer  I  may  go, 

And  ask  for  a  share  in  His  love; 
And  if  I  thus  earnestly  seek  Him  below, 

I  shall  see  Him  and  hear  Him  above; 

In  that  beautiful  place  He  has  gone  to  prepare 

For  all  who  are  washed  and  forgiven; 
Full  many  dear  children  are  gathering  there, 

"For  of  such  is  the  kingdom  of  heaven." 

But  thousands  and  thousands  who  wander  and  fail. 

Never  heard  of  that  heavenly  home : 
I  wish  they  could  know  there  is  room  for  them  all. 

And  that  Jesus  has  bid  them  to  come. 

And  O,  how  I  long  for  that  glorious  time, 

The  sweetest  and  brightest  and  best, 
When  the  dear  little  children  of  every  cHme, 

Shall  crowd  to  His  arms  and  be  blest.     Amen. 


The  writer  of  this  hymn,  Jemima  Thompson  Luke,  was 
the  wife  of  the  Rev.  Samuel  Luke,  a  congregational  minis- 
ter. She  wrote  poems  for  a  juvenile  magazine  when  she 
was  only  thirteen  years  of  age.  These,  however,  were  pub- 
lished anonomously.  She  is  kno"'ATi  to  the  Christian  world 
through  the  hymn  which  we  have  just  quoted.     It  is 


I02  FAVORITE  HYMNS 

told  that  she  wrote  it  while  riding  in  a  stage  coach  in  184 1, 
intending  it  for  use  in  the  village  school  near  the  home  of 
her  father.  It  was  originally  published  without  any  name ; 
but  has  gradually  come  into  wide  use  and  is  making  the 
name  of  the  woman  who  wrote  it  known  on  both  sides  of 
the  Atlantic. 

A  hymn  which  has  the  distinction  of  being  called  the 
oldest  of  Sunday-school  hynms  is  distinctly  a  hymn  which 
has  as  its  distinguishing  feature  a  recognition  of  Jesus  as 
the  Shepherd  of  Youth. 

THE  OLDEST  SUNDAY-SCHOOL  HYMN 

Shepherd  of  tender  youth, 

Guiding  in  love  and  truth 

Through  devious  ways: 
Christ,  our  triumphant  King, 
We  come  Thy  Name  to  sing, 
And  here  our  children  bring, 

To  join  Thy  praise. 

Thou  art  our  holy  Lord, 
0  all-subduing  Word, 

Healer  of  strife: 
Thou  didst  Thyself  abase, 
That  from  sin's  deep  disgrace 
Thou  mightest  save  our  race, 

And  give  us  Ufe. 

O  wisdom's  great  High  Priest 
Thou  hast  prepared  the  feast 

Of  holy  love; 
And  in  our  mortal  pain 
None  calls  on  Thee  in  vain: 
Help  Thou  dost  not  disdain, 

Help  from  above. 


"Suffer  little  children  to  come  unto  me.' 


SHEPHERD  HYMNS  103 


Ever  be  near  our  side, 

Our  Shepherd  and  our  Guide, 

Our  staff  and  song: 
Jesus,  Thou  Christ  of  God, 
By  Thine  enduring  Word, 
Lead  us  where  Thou  hast  trod; 

Make  our  faith  strong. 

So  now,  and  till  we  die, 
Sound  we  Thy  praises  high, 

And  joyful  sing: 
Let  all  the  holy  throng 
Who  to  Thy  Church  belong. 
Unite  and  swell  the  song 

To  Christ  our  King! 

This  hymn  which  was  written  in  Greek  about  the  close 
of  the  second  or  the  beginning  of  the  third  century  is 
credited  to  Clement,  of  Alexandria,  a  Christian  philosopher 
and  teacher,  whose  active  life  was  lived  in  the  latter  part 
of  the  second  and  the  beginning  of  the  third  century. 
The  original  of  the  hymn  is  found  in  the  appendix  to  the 
Tutofy  composed  by  Titus  Flavins  Clemens,  Clement  of 
Alexandria.  The  hymn  follows  a  treatise  on  "Jesus  as 
the  Great  Teacher."  While  the  author's  references  sug- 
gest a  possible  earlier  authorship,  it  is  generally  called 
"Clement's  Hymn." 

This  hymn  from  the  Greek  reminds  us  of  the  statement 
of  history  that  the  disciples  who  spoke  Greek  seem  to  have 
been  especially  tuneful  and  confirms  the  statement  that 
"Greece,  the  land  of  poets,  was  doubtless  the  cradle  of 
Christian  hymnody."  The  early  believers  taught  their 
songs  to  their  children,  and  it  is  as  certain  that  our  first 
Sunday-school  hymn  was  written  somewhere  in  the  land 
of  the  classic  East  as  it  is  that  the  Book  of  Revelation  was 
written  on  the  Isle  of  Patmos. 


HYMNS  OF  THE  ASCENSION 


IN  reviewing  the  use  of  the  hymns  of  the  Ascension, 
^^  in  order  to  select  those  which  were  the  most  gen- 
j^^^  erally  used  as  the  favorites  to  be  described,  we 
were  surprised  to  note  that  in  several  books  of 
hymns  the  whole  subject  of  the  Ascension  had  been  over- 
looked. Yet  this  is  a  natural  result  of  the  failure  to  ob- 
serve the  Church  Year  by  many  professing  Christians. 
They  miss  the  force  of  the  logic  and  the  sequence  in 
worship. 

The  Ascension  fact  is  a  crowning  climax  to  the  Easter 
triumph.  Its  setting  is  picturesque ;  its  facts  fully  attested, 
and  its  lessons  most  reassuring  to  the  believer.  While 
discoursing  to  and  commissioning  His  apostles,  Jesus 
suddenly  and  visibly  ascends  beyond  the  clouds  into 
heaven,  whence  He  had  come,  and  assumes  His  seat  at 
the  right  hand  of  Power  in  eternity.  The  event  in  its 
manner  and  in  its  significance  means  so  much  to  every 
believer  in  Him  that  the  soul  witnessing  it  may  well  shout 
in  exultation  in  contemplation  of  the  triumphant  departure. 
The  writers  of  evangelical  hymns  have  not  ignored  the 
triumphant  scene  which  marks  the  termination  of  the 
physical  presence  of  our  Lord  upon  the  earth.  The 
deep  impression  which  the  Ascension  should  make  on  our 
hearts  and  lives  is  most  fully  expressed  in  a  remarkable 
hymn  wTitten  in  German  by  Gerhard  Tersteegen,  and 
furnished  in  an  excellent  English  translation  by  that  well- 
known  translator,  Catherine  Winkworth.  The  peculiarity 
of  the  meter  has  prevented  the  wide  popularity  of  the 

104 


HYMNS  OF  THE  ASCENSION  105 

hymn,  which,  embracing  the  great  facts  of  the  Ascension, 
is  most  expressive. 

A  PRAYER  TO   JESUS   ON  HIS  ASCENSION 

Conquering  Prince  and  Lord  of  glory, 

Majesty  enthroned  in  Hght! 
All  the  heavens  are  bowed  before  Thee, 

Far  beyond  them  spreads  Thy  might. 
Shall  I  fall  not  at  Thy  feet, 
And  my  heart  with  rapture  beat, 
Now  Thy  glory  is  displayed, 
Thine  ere  yet  the  worlds  were  made? 

As  I  watch  Thee  far  ascending 

To  the  right  hand  of  the  throne. 
See  the  host  before  Thee  bending, 

Praising  Thee  in  sweetest  tone, 
Shall  not  I  too  at  Thy  feet 
Here  the  angels'  strain  repeat, 
And  rejoice  that  heaven  doth  ring 
With  the  triumph  of  my  King? 

Power  and  Spirit  are  o'erflowing; 

On  me  also  be  they  poured: 
Every  hindrance  overthrowing, 

Make  Thy  foes  Thy  footstool,  Lord. 
Yea,  let  earth's  remotest  end 
To  Thy  righteous  scepter  bend; 
Make  Thy  way  before  Thee  plain. 
O'er  all  hearts  and  spirits  reign. 

Lo,  Thy  presence  now  is  filling 

All  Thy  Church  in  every  place. 
Fill  my  heart  too,  make  me  willing 

In  this  season  of  Thy  grace. 
Come,  Thou  King  of  glory,  come, 
Deign  to  make  my  heart  Thy  home, 
There  abide  and  rule  alone, 
As  upon  Thy  heavenly  throne. 


lo6  FAVORITE  HYMNS 

Thou  art  leaving  me,  yet  bringing 

God  and  heaven  most  inly  near; 
From  this  earthly  life  upspringing, 

As  though  still  I  saw  thee  here. 
Let  my  heart,  transplanted  hence, 
Strange  to  earth,  and  time,  and  sense, 
Dwell  with  Thee  in  heaven  e'en  now, 
Where  our  only  joy  art  Thou! 

The  author  of  this  hymn,  Gerhard  Tersteegen,  was  bom 
at  Mors,  Rhenish  Prussia,  November  25,  1697.  He  began 
to  study  for  the  ministry  in  the  Reformed  Church,  but 
was  compelled  by  the  death  of  his  father  to  go  into  business. 
He  soon  became  what  is  known  as  a  Mystic,  absented 
himself  from  the  Holy  Communion  because  he  was  not 
willing  to  commune  with  open  sinners.  He  often  became 
spiritually  depressed,  and  in  one  of  these  moods,  on  Maundy 
Thursday,  1724,  he  wrote  out  what  he  called  "sl  covenant 
with  God,"  which  he  signed  with  his  own  blood.  He  kept 
aloof  from  the  established  churches,  but  made  no  attempt 
to  organize  one  of  his  own.  He  preached  so  earnestly 
that  he  strained  his  voice  and  in  his  later  years  w^as  able 
to  speak  only  to  small  audiences.  He  established  a 
'Tilgerhutte,"  or  ''Pilgrim's  Cottage,"  for  ''Awakened 
Sinners,"  and  in  preaching  and  living,  as  wxU  as  in  hymn 
writing,  was  deeply  pious.  His  hymns,  which  are  quite 
numerous,  have  perpetuated  his  name.  They  are  found 
in  both  Lutheran  and  Reformed  hymnals.  His  "Prayer 
to  Jesus  on  His  Ascension"  is  an  excellent  illustration  of  the 
style  of  his  hymns. 

An  Ascension  Hymn  of  the  Middle  Ages 

M.  Guizot,  in  speaking  of  the  characteristics  of  the  lit- 
erature of  the  "Middle  Ages,"  very  correctly  states  that 


HYMNS  OF  THE  ASCENSION  107 

which  particularly  applies  to  the  hymns  of  the  period,  "It 
ceased  to  be  a  literature;  it  had  become  an  action,  a  power; 
it  sought  to  act  on  the  depths  of  the  soul,  to  produce  real 
effects,  genuine  reformations,  effectual  conversions.  It 
was  not  so  much  sacred  eloquence  as  a  spiritual 
power." 

One  of  the  writers  of  this  period  was  the  Venerable 
Bede.  He  was  in  every  respect  a  monk,  although  he 
reflected  the  better  side  of  the  life  of  the  monk,  being  ex- 
ceedingly devout  and  very  studious.  Venerable  Bede 
became  a  deacon  in  692  A.  D.  and  a  priest  in  702  A.  D. 
He  spent  his  entire  life,  however,  in  the  monasteries,  dying 
on  Ascension  Day,  May  26,  735  A.  D.  This  fact,  to- 
gether wdth  the  story  of  the  manner  in  which  he  spent  his 
closing  hours  of  earthly  life,  will  add  interest  to  his  Ascen- 
sion hymn. 

A  pupil  who  sat  at  his  feet  writes:  "He  lived  joyfully, 
gi\dng  thanks  to  God  day  and  night,  yea,  at  all  hours,  until 
the  Feast  of  the  Ascension;  every  day  he  gave  lessons  to  us, 
his  pupils,  and  the  rest  of  his  time  he  occupied  in  chanting 
psalms.  He  was  awake  almost  the  whole  night,  and  spent 
it  in  joy  and  thanksgiving,  and  when  he  awoke  from  his 
short  sleep  immediately  he  raised  his  hands  on  high  and 
began  again  to  give  thanks.  He  sang  the  words  of  the 
apostle  Paul — 'It  is  a  dreadful  thing  to  fall  into  the  hands 
of  the  living  God.'  He  sang  much  besides  from  the  Holy 
Scriptures,  and  also  many  Anglo-Saxon  hymns.  He  sang 
antiphons,  according  to  his  and  our  custom,  and  among 
others  this  one,  '0  King  of  Glory,  Lord  of  power!  who 
didst  this  day  ascend  a  victor  above  all  the  heavens,  leave 
us  not  orphaned  behind  Thee,  but  send  to  us  the  promised 
Spirit  of  the  Father,  Hallelujah!'  "  In  the  midst  of  his 
singing  he  had  his  pupils  busy  writing  out  some  translations. 


io8  FAVORITE  HYMNS 

He  hastened  them  that  the  task  might  be  completed.  At 
last  a  scholar  told  him  all  was  written.  He  said,  "It  is  fin- 
ished. Raise  my  head,  for  it  will  do  me  good  to  sit  oppo- 
site my  sanctuary,  where  I  was  wont  to  kneel  down  to 
pray,  that  sitting  I  may  call  upon  my  Father."  He  seated 
himself  thus  upon  the  ground  in  his  cell  and  sang,  the 
''Glory  to  Thee,  O  God,  Father,  Son  and  Holy  Ghost." 
The  pupil  says:  "When  he  had  named  the  Holy  Ghost  he 
breathed  his  last."  This  story  of  the  author  and  his 
ascension  to  God  should  give  us  a  new  interest  in  the  hymn 
which  we  now  quote.  We  give  the  entire  hymn,  for  it  is 
abbreviated  in  many  collections.  In  the  reading  of  it  we 
would  ask  the  reader  to  note  the  completeness  of  the  poem, 
which  is  like  a  continued  story,  needing  every  thought  to 
bring  out  its  whole  truth.  What  a  mistake  is  often  made 
in  pubHc  worship  in  cutting  out  or  cutting  off  important 
portions  of  hymns  in  order  to  shorten  services!  Thus  we 
often  are  robbed  of  the  real  spirit  and  blessing  of  the  hymn 
itself. 

VENERABLE   BEDE's   ASCENSION  HYMN 

A  hymn  of  glory  let  us  sing; 

New  hymns  throughout  the  world  shall  ring; 

By  a  new  way  none  ever  trod, 

Christ  mounteth  to  the  throne  of  God. 

The  apostles  on  the  mountain  stand — 
The  mystic  mount — in  holy  land; 
They,  with  the  virgin  mother,  see 
Jesus  ascend  in  majesty. 

The  angels  say  to  the  eleven, 
"Why  stand  ye  gazing  into  heaven? 
This  is  the  Saviour — this  is  He! 
Jesus  hath  triumph'd  gloriously!" 


HYMNS  OF  THE  ASCENSION  109 

They  said  the  Lord  should  come  again, 
As  these  beheld  Him  rising  then, 
Calm  soaring  through  the  radiant  sky, 
Mounting  its  dazzUng  summits  high. 

May  our  affections  thither  tend. 
And  thither  constantly  ascend, 
Where,  seated  on  the  Father's  throne, 
Thee  reigning  in  the  heavens  we  own! 

Be  Thou  our  present  Joy,  O  Lord, 
Who  wilt  be  ever  our  Reward; 
And  as  the  countless  ages  flee, 
May  all  our  glory  be  in  Thee! 

Christopher  Wordsworth,  an  English  rector  of  the  early 
nineteenth  centur}-,  who  was  a  prolific  writer,  has  left 
several  permanent  contributions  to  the  hymns  of  merit 
and  wide  use.  One  of  these  is  a  hymn  on  the  Ascension, 
which  is  most  picturesque  in  its  language  and  comprehen- 
sive in  its  teaching. 

Wordsworth's  picturesque  ascension  hymn 

See  the  Conqueror  mounts  in  triumph; 

See  the  King  in  royal  state. 
Riding  on  the  clouds,  His  chariot 

To  His  heavenly  palace  gate! 
Hark!  the  choir  of  angel  voices. 

Joyful  alleluias  sing. 
And  the  portals  high  are  Hfted 

To  receive  their  heavenly  Kjng. 

W^ho  is  this  that  comes  in  glory. 

With  the  trump  of  jubilee? 
Lord  of  battles,  God  of  armies. 

He  hath  gained  the  victory! 
He  who  on  the  cross  did  suffer, 

He  who  from  the  grave  arose, 
He  hath  vanquished  sin  and  Satan, 

He  by  death  hath  spoiled  His  foes. 


no  FAVORITE  HYMNS 

Now  our  heavenly  Aaron  enters, 

With  His  blood  within  the  veil; 
Joshua  now  is  come  to  Canaan, 

And  the  kings  before  Him  quail; 
Now  He  plants  the  tribes  of  Israel 

In  their  promised  resting-place; 
Now  our  great  Elijah  offers 

Double  portion  of  His  grace. 

He  hath  raised  our  human  nature 

On  the  clouds  to  God's  right  hand: 
There  we  sit  in  heavenly  places, 

There  with  Him  in  glory  stand; 
Jesus  reigns,  adored  by  angels: 

Man  with  God  is  on  the  throne; 
Mighty  Lord,  in  Thine  ascension 

We  by  faith  behold  our  own. 

Wordsworth  drew  his  inspiration  from  the  Scriptures 
and  sought  to  interpret  them  for  the  benefit  of  the  wor- 
shiper. This  is  very  evident  in  his  Ascension  hymn,  which, 
in  addition  to  expressing  poetically  the  Scripture  story  of 
the  Ascension,  weaves  in  the  teaching  under  Scripture 
imagery,  which  to  a  marked  degree  adds  richness  and 
beauty  to  the  hymn. 

A  native  of  Nossen,  in  the  Hartz  region,  produced  a 
number  of  German  hymns,  of  which  one,  an  Ascension 
hymn,  has  been  translated  into  English.  We  refer  to 
Friederich  Funcke,  who  is  the  author  of  a  hymn  which  is 
very  popular  among  Lutheran  worshipers.  It  may  be 
called 

AN  ASCENSION  PRAYER 

Draw  us  to  Thee,  Lord  Jesus, 

And  we  will  hasten  on; 
For  strong  desire  doth  seize  us 

To  go  where  Thou  art  gone. 


KYMNS  OF  THE  ASCENSION  iii 

Draw  us  to  Thee;  enlighten 

These  hearts  to  find  Thy  way, 
That  else  the  tempests  frighten, 

Or  pleasures  lure  astray. 


Draw  us  to  Thee;  and  teach  us 
Even  now  that  rest  to  find, 

Where  turmoils  cannot  reach  us, 
Nor  cares  weigh  down  the  mind. 


Draw  us  to  Thee;  nor  leave  us 
Till  all  our  path  is  trod, 

Then  in  Thine  arms  receive  us, 
And  bear  us  home  to  God. 


There  are  several  variations  of  this  hymn,  which  has 
been  also  ascribed  to  several  other  authors.  The  real 
author,  Friederich  Funcke,  was  a  man  of  broad  education 
and  especially  talented  as  a  musician.  He  was  for  some 
years  Stadt  Cantor  in  Liineberg  and  later  became  pastor 
at  Romstedt,  where  he  died  in  1699.  He  was  the  editor 
of  a  hymnal  which  contained  no  less  than  forty-three 
melodies  of  his  own  composing. 

Charles  Wesley,  the  great  Methodist  hymn  writer,  has 
written  a  ''Hymn  for  Ascension  Day,"  which  has  come  into 
very  general  favor.  When  we  take  into  consideration 
the  number  of  hymns  w^hich  Wesley  has  written  it 
is  high  praise  to  be  told  that  this  hymn  stands  as  one 
of  the  three  hymns  from  his  pen  which  have  attained 
widest  popularity.  The  other  tw^o  are  "Jesus,  Lover  of 
My  Soul"  and  "Hark,  the  Herald  Angels  Sing!"  Its 
popularity  and  its  merit  make  it  a  worthy  conclusion 
for  this  article. 


112  FAVORITE  HYMNS 

Wesley's  hymn  on  the  ascension 

Hail  the  day  that  sees  Him  rise, 
To  His  throne  above  the  skies; 

Christ,  awhile  to  mortals  given, 
Reascends  His  native  heaven. 

There  for  Him  high  triumph  waits; 

Lift  your  heads,  eternal  gates! 
Wide  unfold  the  radiant  scene; 

Take  the  King  of  glory  in! 

Lo!  the  heaven  its  Lord  receives. 
Yet  He  loves  the  earth  He  leaves; 

Though  returning  to  His  throne, 
Still  He  calls  mankind  His  own. 

See,  He  lifts  His  hands  above! 

See,  He  shows  the  prints  of  love! 
Hark,  His  gracious  lips  bestow 

Blessings  on  His  Church  below! 

Still  for  us  His  death  He  pleads; 

Prevalent  He  intercedes; 
Near  Himself  prepares  our  place, 

Harbinger  of  human  race. 

Lord,  though  parted  from  our  sight, 
Far  above  the  starry  height, 

Grant  our  hearts  may  thither  rise, 
Following  Thee  above  the  skies. 

There  we  shall  with  Thee  remain. 
Partners  of  Thy  endless  reign; 

There  Thy  face  unclouded  see, 

Find  our  heaven  of  heavens  in  Thee. 


HYMNS  TO  THE  HOLY  SPIRIT 

'MNS  which  Uft  the  soul  to  God  m  worship, 
at  the  same  time  by  the  power  of  their  devotional 
approach  to  God  most  effectively  teach  the  things 
which  pertain  to  God.  Many  good  Christians 
have  found  truth,  indelibly  stamped  it  on  their  minds, 
and  have  been  gripped  by  spiritual  impulses  through  some 
verse  of  a  beautiful  hymn — a  hymn  which  carries  the  gospel 
theme  beyond  the  theory,  and,  so  to  speak,  grafts  it  into 
the  soul  itself.  It  is  this  fact  which  renders  vital  to  a 
unified  and  effective  service  the  complete  harmonization 
of  the  Scripture  lessons  and  the  hymn  selections  with  the 
theme  of  the  day.  Herein  lies  one  of  the  chief  beauties  and 
benefits  which  follow  the  arrangement  of  the  church  year. 
By  the  systematic  and  logically  arranged  unfolding  of  the 
gospel  with  the  life  of  Christ  and  His  works  and  teachings 
as  the  guiding  principle,  unity  and  harmony,  as  well  as 
fulness  of  the  presentation  of  truth  are  almost  compelled. 
Thus  when  the  Pentecostal  festival  approaches,  naturally 
the  work  of  the  Holy  Spirit  is  emphasized.  Otherwise  the 
very  nature  of  the  Third  Person  of  the  Trinity  and  the 
type  of  work  which  is  done  for  man  by  the  Holy  Spirit 
would  result  in  an  under-emphasis  of  that  which  is  so  im- 
portant that  Christ  Himself  told  His  disciples  that  it  was 
expedient  for  them  that  He  should  go  away  in  order  that 
the  Holy  Spirit  might  come  unto  them. 

The  constant  and  necessary  presence  of  the  Holy  Spirit 
in  the  Church,  a  presence  promised  by  the  Saviour  Him- 

113 


114  FAVORITE  HYMNS 

self,  which  promise  was  fulfilled  on  the  day  of  Pentecost, 
is  often  most  efifectively  impressed  upon  the  minds  of 
Christian  people  through  the  use  of  the  hymns  of  invoca- 
tion of  the  Holy  Spirit.  An  orderly  service  is  most 
properly  opened  with  such  a  hymn. 

One  of  Luther's  great  hymns  is  his  "Komm  Heiliger 
Geist,  Herre  Gott."  It  is  an  amplification  of  an  old 
German  version  of  a  still  older  Latin  hymn,  the  "Veni 
Sancte  Spiritus."  This  hymn  as  Luther  wrote  it,  with  its 
old  tune,  was  first  published  in  German  in  1524. 

Luther's  hymn  to  the  holy  spirit 

Come,  Holy  Spirit,  God  and  Lord! 

Be  all  Thy  graces  now  outpoured 

On  the  believer's  mind  and  soul. 

To  strengthen,  save,  and  make  us  whole. 

Lord,  by  the  brightness  of  Thy  light, 
Thou  in  the  faith  dost  men  unite 
Of  every  land  and  every  tongue; 
This  to  Thy  praise,  O  Lord,  be  sung. 

Thou  strong  Defence,  Thou  holy  Light, 
Teach  us  to  know  our  God  aright. 
And  call  Him  Father  from  the  heart; 
,    The  word  of  life  and  truth  impart; 

That  we  may  love  not  doctrines  strange. 
Nor  e'er  to  other  teachers  range. 
But  Jesus  for  our  Master  own, 
And  put  our  trust  in  Him  alone. 

Thou  sacred  Ardor,  Comfort  sweet, 
Help  us  to  wait  with  ready  feet 
And  willing  heart  at  Thy  command, 
Nor  trial  fright  us  from  Thy  band. 


HYMNS  TO  THE  HOLY  SPIRIT  11$ 

Lord,  make  us  ready  with  Thy  powers; 
Strengthen  the  flesh  in  weaker  hours, 
That  as  good  warriors  we  may  force 
Through  Hfe  and  death  to  Thee  our  course! 

This  hymn,  so  rich  in  devotion  and  instruction,  has  an 
abundant  history  of  its  own.  We  are  told  that  it  rapidly 
came  into  great  favor  among  the  common  people.  An 
evidence  of  this  is  the  fact  which  the  historian  narrates, 
namely,  that  in  1526,  at  the  battle  of  Frankenhausen,  in 
the  Peasants'  War,  a  whole  host  of  them  stood  immovable 
singing  this  hymn.  According  to  the  story,  the  Land- 
grave of  Hesse  gave  the  order  to  attack,  but  the  peasants 
remained  unmoved,  neither  retreating  nor  defending  them- 
selves, but  singing  and  waiting  for  the  miraculous  help  of 
God,  which  their  leader,  Thomas  Mxinzer,  had  predicted. 
As  they  sang  about  50,000  of  them  were  slain  and  the  rest 
were  finally  dispersed. 

Another  instance  which  illustrates  the  power  which  this 
hymn  soon  secured  over  the  minds  and  hearts  of  the  people 
occurred  in  August,  1527.  It  was  August  i6th  that  Leon- 
ard Kayser  was  burned  at  the  stake  because  of  his  evangel- 
ical preaching,  which  fact  stresses  the  heroism  of  the  men 
of  the  times  of  Luther,  who  preached  and  defended  the 
Reformation  doctrines.  As  the  preparations  for  Kayser's 
martyrdom  were  completed  he  asked  the  people  to  sing 
"Komm  Heiliger  Geist,  Herre  Gott."  With  deep  emotion 
they  sang,  and  while  the  flames  leaped  up  his  own  voice 
was  heard  as  he  cried  out,  "Jesus,  I  am  Thine;  save 
me."     Repeating  these  words  several  times,  he  died. 

It  is  told  of  a  family  in  Silesia  that  in  the  midst  of  a 
terrible  storm  in  1535  they  sat  singing  this  hymn  and  were 
uninjured,  while  the  roof  of  their  home  was  blown  from  over 
their  heads. 


Il6  FAVORITE  HYMNS 

The  wife  of  the  celebrated  Frederic  Perthes,  of  Hamburg, 
sent  several  stanzas  of  this  hymn  to  her  son,  who  was  a 
student  at  the  university,  as  a  birthday  greeting.  Most 
appropriate  it  was,  especially  in  those  times.  The  third 
and  fourth  stanzas  were  those  which  she  sent.  They  would 
not  be  amiss  as  a  message  to  the  university  student  of  today. 

This  hymn  of  Luther's  is  most  appropriate  as  the  open- 
ing hymn  of  invocation  at  public  worship.  It  found  place 
in  this  position  in  the  official  jubilee  celebration  service, 
which  inaugurated  the  great  quadricentennial  jubilee  of 
the  Protestant  Reformation.  With  many  ministers  it  is  a 
favorite,  not  only  for  use  in  public  worship,  but  also  in 
private  devotion.  Not  a  few  instances  are  told  of  the  use 
of  this  hymn  or  portions  of  it  as  the  thought  to  sustain 
the  soul  at  the  moment  of  its  departure  from  the  flesh. 

There  are  a  number  of  translations  of  this  hymn,  which 
fact  is  an  evidence  of  the  wide  appreciation  of  its  value  as  a 
devotional  hymn  and  medium  of  instruction  concerning 
the  person  and  work  of  the  Holy  Ghost.  The  translation 
which  we  have  given  is  that  of  Miss  Winkworth,  made  in 

1855. 

Luther  wrote  another  hymn  of  invocation  of  the  Holy 
Ghost,  which  was  first  published  in  Walther's  hymn  book 
in  1524.  The  first  verse  of  this  hymn  is  credited  to  a 
priest  and  poet  of  the  twelfth  century.  Luther's  hymn, 
which  was  translated  into  Latin  in  1550  and  into  Tamil  for 
use  by  that  pioneer  of  Christian  missions  in  India,  Bar- 
tholomew Ziegenbalg,  in  1723,  was  once  used  under  very 
peculiar  circumstances.  The  story  is  told  in  'The  Stories 
of  Evangelical  Hymns,"  by  Karl  Heinrich.  It  was  not 
long  after  Luther  had  written  and  published  it  that 
about  eighty  fishermen  were  fishing  on  the  ice  between 


HYMNS  TO  THE  HOLY  SPIRIT  117 

Copenhagen  and  the  Island  of  Saltholm.  The  ice  gave 
way  and  precipitated  them  into  the  icy  water.  They 
were  carried  along  by  the  current  and  gradually  became 
separated,  nearly  thirty  of  them  being  drowned.  While 
they  were  still  close  together  one  of  them,  Hans  Vensen, 
called  out  to  the  others,  ''Dear  brethren,  let  us  not  fall 
into  despair  because  we  shall  lose  our  lives,  but  let  us 
prove  by  our  conduct  that  we  have  been  hearers  of  God's 
word."  They  then  sang  "Nun  bitten  wir  den  Heilegen 
Geist,"  and  after  it  the  hymn  for  the  dying,  Luther's 
metrical  version  of  Simeon's  valedictory,  the  "Nunc  Dim- 
ittis" — "Mit  Fried  und  Freud  ich  fahr  dahin." 


Luther's    "nun    bitten    wir    den    heilegen    geist'* 

Now  pray  we  all  God,  the  Comforter, 
Into  every  heart  true  faith  to  pour, 
And  that  He  defend  us,  till  death  here  end  us, 
When  for  heaven  we  leave  this  world  of  sorrow. 
Have  mercy,  Lord. 

Shine  into  us,  O  most  holy  Light, 
That  we  Jesus  may  know  aright; 
Stayed  on  Him  forever,  our  only  Saviour, 
Who  to  our  true  home  again  hath  brought  us. 
Have  mercy,  Lord. 

Spirit  of  love,  now  our  spirits  bless  us; 
Them  with  Thy  own  heavenly  fire  possess; 
That  in  heart  uniting,  in  peace  delighting, 
We  may  henceforth  all  be  one  in  spirit. 
Have  mercy,  Lord. 

Heinrich  Held  of  Gunrau,  Silesia,  is  the  author,  and  the 
Rev.  Dr.  C.  W.  Schaefler,  of  Germantown,  Philadelphia, 
the  translator  into  EngHsh  of  one  of  the  most  popular  of 


Ii8  FAVORITE  HYMNS 

the  German  hymns  to  the  Holy  Spirit.  The  author  was 
a  lawyer,  who  endured  many  trials  in  the  times  of  war  in 
which  he  lived.  In  this  school  of  trial  his  soul  was  tem- 
pered and  attuned  to  sing  and  he  became  one  of  the  best 
of  Silesian  hymn  writers.  Only  two  of  his  hymns  have  been 
translated  into  English.  The  one  is  his  Advent  hymn, 
"Gott  sei  Dank  durch  alle  Welt";  the  other  is  "Komm 
o  komm,  du  Geist  des  Lebens."  The  latter  is  one  of  the 
finest  hymns  of  invocation  to  the  Holy  Spirit  ever  written. 
Written  in  1664,  it  was  translated  by  the  late  Dr.  C.  W. 
Schaefi'er  in  1866.  It  is  today  in  high  favor  in  both  Eng- 
lish and  German  churches.  While  there  are  a  number 
of  translations,  none  brings  out  the  meaning  better  than 
does  the  English  version  from  the  pen  of  Dr.  Schaeffer. 

DR.  SCHAEFFER'S  TRANSLATION  OF  HEINRICH  HELD'S  HYMN 

Come,  O  come,  Thou  quickening  Spirit, 

Thou  for  ever  art  divine; 
Let  Thy  power  never  fail  me, 

Always  fill  this  heart  of  mine; 
Thus  shall  grace,  and  truth,  and  light 
Dissipate  the  gloom  of  night. 

Grant  my  mind  and  my  affections 

Wisdom,  counsel,  purity; 
That  I  may  be  ever  seeking 

Naught  but  that  which  pleases  Thee. 
Let  Thy  knowledge  spread  and  grow, 
Working  error's  overthrow. 

Lead  me  to  green  pastures,  lead  me 

By  the  true  and  living  way. 
Shield  me  from  each  strong  temptation, 

That  might  draw  my  heart  astray; 
And  if  e'er  my  feet  should  turn. 
For  each  error  let  me  mourn. 


PAUL  GERHARDT 


HYMNS  TO  THE  HOLY  SPIRIT  119 

Holy  Spirit,  strong  and  mighty, 

Thou  who  makest  all  things  new, 
Make  Thy  work  within  me  perfect, 

Help  me  by  Thy  word  so  true. 
Arm  me  with  that  sword  of  Thine, 
And  the  victory  shall  be  mine. 

In  the  faith,  oh,  make  me  steadfast; 

Let  not  Satan,  death,  or  shame 
Of  my  confidence  deprive  me; 

Lord,  my  refuge  is  Thy  name. 
When  the  flesh  inclines  to  ill, 
Let  Thy  word  prove  stronger  still. 

And  when  my  last  hour  approaches. 
Let  my  hopes  grow  yet  more  bright, 

Since  I  am  an  heir  of  heaven. 
In  Thy  glorious  courts  of  Hght, 

Fairer  far  than  voice  can  tell. 

There,  redeemed  by  Christ,  to  dwell. 

Another  hymn  invoking  the  comfort  and  help  of  the 
Holy  Spirit  which  was  bom  in  domestic  and  personal 
affliction  and  which  is  the  only  hymn  of  the  author  which 
has  passed  into  English,  is  Michael  Schirmer's  ^'O  Heil'ger 
Geist,  kehr  bei  uns  Ein."  This  hymn,  which  is  called 
"A  Short  Hymn  for  Whitsuntide,"  is  a  beautiful  New 
Testament  paraphrase  of  Isaiah  11:2,  "And  the  Spirit 
of  the  Lord  shall  rest  upon  him,  the  spirit  of  wisdom  and 
understanding,  the  spirit  of  counsel  and  might,  the  spirit 
of  knowledge  and  of  the  fear  of  the  Lord."  The  author, 
who  wrote  poems  in  both  German  and  Latin,  was  crowned 
as  a  poet  in  1 63  7 .  D omestic  and  personal  sorrows  mellowed 
his  soul  and  gave  character  to  his  song.  We  quote  the 
first  stanza  of  his  hymn,  but  advise  our  readers  to  look  up 
and  study  the  entire  hymn. 


1 


I20  FAVORITE  HYMNS 

''O  Holy  Spirit,  enter  in, 
Among  these  hearts  Thy  work  begin, 

Thy  temple  deign  to  make  us; 
Sun  of  the  soul,  Thou  Light  divine, 
Around  and  in  us  brightly  shine, 

To  strength  and  gladness  wake  us. 
Where  Thou  shinest.  Life  from  heaven 
There  is  given.     We  before  Thee 
For  that  precious  gift  implore  Thee." 

A  hymn  of  invocation  of  the  Holy  Spirit  which  has  come 
to  us  out  of  the  period  of  the  Thirty  Years'  War,  and  which 
is  from  the  pen  of  that  prolific  and  sweet  singer  of  Germany, 
Paul  Gerhardt,  begins  in  German  with  the  words,  "Zeuch 
ein  zu  deinen  Thoren."  The  times  under  which  it  came 
into  being  emphasize  the  fact  that  as  affliction  is  "the 
schoolmaster  to  bring  men  to  Christ,''  so  tribulation  and 
trial  make  men  feel  the  need  of  the  Comforter  whom  that 
Saviour  promised.  As  originally  written  and  published 
in  Wakernagel's  "Geistliche  Lieder,"  this  hymn  contained 
sixteen  stanzas.  We  give  the  five  stanzas  herewith  from 
the  translation  made  by  Miss  Winkworth,  the  most  suc- 
cessful and  most  prolific  of  English  translators  of  Ger- 
man hymns.    The  translation  was  made  in  1862. 

GERHARDT 'S   WHITSUNTIDE  HYMN 

Oh,  enter,  Lord,  Thy  temple. 

Be  Thou  my  spirit's  Guest, 
Who  at  my  birth  didst  give  me 

A  second  birth  more  blest. 
Though  here  to  dwell  Thou  deignest, 

Thou  in  the  Godhead,  Lord, 
For  ever  equal  reignest. 

Art  equally  adored. 


HYMNS  TO  THE  HOLY  SPIRIT  121 

Oh,  enter,  let  me  know  Thee, 

And  feel  Thy  power  within, 
The  power  that  breaks  our  fetters, 

And  rescues  us  from  sin. 
That  I  may  serve  Thee  truly, 

Oh,  wash  and  cleanse  Thou  me, 
To  render  honor  duly 

With  perfect  heart  to  Thee. 

'Tis  Thou,  O  Spirit,  teachest 

The  soul  to  pray  aright; 
Thy  songs  have  sweetest  music, 

Thy  prayers  have  wondrous  might. 
They  pierce  the  highest  heaven, 

Unheard  they  cannot  fall, 
Till  He  His  help  hath  given 

Who  surely  helpeth  all. 

The  whole  wide  world,  O  Spirit, 

Upon  Thy  hands  doth  rest; 
Our  wayward  hearts  Thou  turnest 

As  it  may  seem  Thee  best. 
As  Thou  hast  done  so  often, 

Once  more  Thy  power  make  known. 
Convert  the  wicked,  soften 

To  tears  the  heart  of  stone. 

Order  our  path  in  all  things 

According  to  Thy  mind. 
And  when  this  life  is  over, 

And  all  must  be  resigned, 
With  calm  and  fearless  spirit 

Oh,  grant  us  then  to  die, 
And  after  death  inherit 

Eternal  life  on  high. 

Ray  Palmer's  English  rendition  of  the  old  "Veni  Sanctus 
Spiritus"  of  the  early  Latin  Church  is  deservedly  popular. 


122  FAVORITE  HYMNS 

palmer's  translation  of  the  *'veni  sanctus  spiritus'* 

"Come,  Holy  Ghost,  in  love 
Shed  on  us  from  above 

Thine  own  bright  ray! 
Divinely  good  Thou  art; 
Thy  sacred  gifts  impart 
To  gladden  each  sad  heart: 

Oh,  come  today! 


(( 


Come,  tenderest  Friend,  and  best, 
Our  most  delightful  Guest, 

With  soothing  power; 
Rest,  which  the  weary  know. 
Shade,  'mid  the  noontide  glow, 
Peace,  when  deep  griefs  o'erflow — 

Cheer  us,  this  hour! 

"Come,  Light  serene,  and  still 
Our  inmost  bosoms  fill; 

Dwell  in  each  breast; 
We  know  no  dawn  but  Thine; 
Send  forth  Thy  beams  divine, 
On  our  dark  souls  to  shine, 

And  make  us  blest! 

"Exalt  our  low  desires; 
Extinguish  passion's  fires; 

Heal  every  wound; 
Our  stubborn  spirits  bend; 
Our  icy  coldness  end; 
Our  devious  steps  attend, 

While  heavenward  bound. 

"Come,  all  the  faithful  bless; 
Let  all,  who  Christ  confess. 

His  praise  employ; 
Give  virtue's  rich  reward; 
Victorious  death  accord. 
And  with  our  glorious  Lord, 

Eternal  joy!" 


HYMNS  TO  THE  HOLY  SPIRIT  123 

There  are  various  translations  of  the  old  Latin  *'Veni, 
Sanctus  Spiritus,"  of  which  the  above  is  one  of  the  niost 
beautiful  and  popular.  The  original  authorship  of  this 
hymn,  which  has  been  of  increasing  use  and  appreciation 
in  the  Church  for  ten  centuries,  is  somewhat  in  doubt. 
Hezekiah  Butterworth,  a  very  reliable  authority,  as- 
cribes it  to  ''Robert  the  Devout,"  who  succeeded  his  father 
on  the  throne  of  France  about  997.  His  life  and  character 
at  least  reflect  the  spirit  of  the  hymn.  The  opposition  of 
his  sons  in  his  last  years  added  to  political  agitations 
brought  great  sorrow  and  much  trouble  upon  him.  Robert 
was  learned,  as  well  as  musically  and  spiritually  minded. 
He  was  unselfishly  devoted  to  the  Church.  He  himself 
served  as  the  chorister  in  the  old  St.  Denis  Church.  He 
would  stand  in  his  royal  robes  and  wearing  his  crown 
upon  his  head,  direct  the  choir  at  matins  and  vespers,  and 
would  himself  join  heartily  in  the  singing.  If  this  old 
hymn  is  his  legacy  to  the  Church,  as  Butterworth  says  it 
is,  after  nearly  a  thousand  years  through  his  hymn  he  still 
has  an  influence  in  the  world. 


THE  VENI  CREATOR  SPIRITUS  OF  THE  TENTH  CENTURY 

Another  old  hymn  of  the  early  Latin  Church  which  has 
been  widely  used  and  is  furnished  in  a  number  of  transla- 
tions is  the  "Veni  Creator  Spiritus,"  which  is  ascribed  to 
various  authors. 


TRANSLATION  OF  A  TENTH  CENTURY  HYMN 

"Come,  Holy  Ghost,  our  souls  inspire, 
And  lighten  with  celestial  fire; 
Thou  the  anointing  Spirit  art, 
Who  dost  Thy  sevenfold  gifts  impart. 


124  FAVORITE  HYMNS 

^'Thy  blessed  unction  from  above, 
Is  comfort,  life,  and  fire  of  love. 
Enable  with  perpetual  light 
The  dullness  of  our  blinded  sight. 


"Anoint  our  heart  and  cheer  our  face 
With  the  abundance  of  Thy  grace. 
Keep  far  our  foes;  give  peace  at  home; 
Where  Thou  art  Guide,  no  ill  can  come. 

"Teach  us  to  know  the  Father,  Son, 
And  Thee,  of  both,  to  be  but  One; 
That  through  the  ages  all  along. 
Thy  praise  may  be  our  endless  song!" 

For  ten  centuries  this  hymn  has  been  in  constant  use  in 
the  Church.  It  has  been  ascribed  to  Charlemagne,  St. 
Ambrose  and  Gregory  the  Great.  Ekkehard,  the  monk 
of  St.  Gall,  says  that  the  groaning  of  a  water  wheel,  whose 
supply  of  water  was  running  short,  suggested  to  Notker, 
who  was  lying  awake  in  a  nearby  dormitory,  the  possibility 
of  setting  the  moaning  of  the  old  wheel  to  music.  He  was 
so  successful  in  his  effort  that  the  music  of  the  original  of 
this  hymn  was  the  result.  This  he  sent  to  Charlemagne, 
who  was  thus  led  to  compose  the  words.  A  strange  legend, 
indeed,  of  the  origin  of  a  hymn  the  authorship  of  which  is 
historically  uncertain,  but  the  use  of  which  is  almost 
universal. 

As  to  the  use  of  this  hymn  it  is  worthy  of  mention  that 
for  several  centuries  it  has  been  used  at  the  consecration 
of  Anglican  bishops.  It  is  generally  used  at  the  ordination 
of  Lutheran  ministers  in  America.  The  Latin  version  of 
it  is  appointed  for  use  at  the  consecration  of  a  p)ope,  the 
election  of  a  Roman  bishop,  at  the  coronation  of  kings,  as 


HYMNS  TO  THE  HOLY  SPIRIT  125 

also  at  that  service  so  strange  to  evangelical  Christians, 
namely,  the  elevation  and  translation  of  saints. 

The  Latin  version  differs  very  slightly,  chiefly  in  the  order 
of  words,  from  the  original  version  and  from  that  which  is 
commonly  in  use  among  us.  Its  general  and  wide  use 
throughout  the  Church  and  in  the  functions  just  referred 
to  would  seem  to  be  an  illustration  of  the  underlying  unity 
of  'The  Christian  Church,"  which  we  confess  to  be  "The 
Communion  of  Saints." 


© 


HYMNS  TO  THE  HOLY  TRINITY 

ISHOP  HEBER,  who  is  the  author  of  a  few  more 
than  fifty  hymns,  has  written  the  hymn  which  is 
undoubtedly  the  most  majestic  hymn  of  praise 
of  the  Holy  Trinity  that  has  ever  been  written. 

BISHOP  HEBER 'S  HYMN  TO   THE   TRINITY 

Holy,  Holy,  Holy!  Lord  God  Almighty! 

Early  in  the  morning  our  song  shall  rise  to  Thee; 
Holy,  Holy,  Holy!  Merciful  and  Mighty! 

God  in  Three  Persons,  Blessed  Trinity! 

Holy,  Holy,  Holy!  all  the  saints  adore  Thee, 

Casting  down  their  golden  crowns  around  the  glassy  sea. 
Cherubim  and  Seraphim,  falling  down  before  Thee; 

Which  wert,  and  art,  and  evermore  shall  be. 

Holy,  Holy,  Holy!  though  the  darkness  hide  Thee, 
Though  the  eye  of  sinful  man  Thy  glory  may  not  see. 

Only  Thou  art  holy,  there  is  none  beside  Thee, 
Perfect  in  power,  in  love,  and  purity. 

Holy,  Holy,  Holy!  Lord  God  Almighty! 

AU  Thy  works  shall  praise  Thy  name  in  earth  and  sky  and 
sea; 
Holy,  Holy,  Holy!  Merciful  and  Mighty! 

God  in  Three  Persons,  Blessed  Trinity! 

This  hymn,  probably  suggested  by  the  Te  Deum,  is,  in 
reality,  a  splendid  metrical  paraphrase  of  Rev,  4  :8-ii. 
An  eminent  English  educator  and  literary  critic  said  of 
this  hymn,  "in  my  judgment,  considering  the  abstract, 

126 


HYMNS  TO  THE  HOLY  TRINITY  127 

difficult  nature  of  its  theme,  its  perfect  spirituality  and  the 
devotion  and  purity  of  its  language,  it  is  the  finest  hymn 
ever  written." 

Grand  as  the  hymn  is,  it  did  not  attain  its  full  grandeur 
of  sentiment  and  sound  until  it  was  inseparably  linked 
with  Dr.  John  B.  Dyke's  tune,  ^'Nicaea."  The  name  may 
mean  nothing  to  our  readers,  but  if  so,  look  up  the  hymn 
and  the  tune  and  sing  it.  We  have  here  another  illustra- 
tion of  the  beauty  and  the  power  that  go  with  a  hymn 
sung  to  its  proper  tune.  To  divorce  a  hymn  from  its  own 
tune,  which  is  historic  and  harmonious  with  the  meaning 
of  the  words,  is  to  rob  worship  of  one  of  the  greatest  of 
its  riches. 

A  PRAYER  TO  THE   TRINITY 

Lead  us,  heavenly  Father,  lead  us 
O'er  the  world's  tempestuous  sea; 

Guard  us,  guide  us,  keep  us,  feed  us. 
For  we  have  no  help  but  Thee; 

Yet  possessing  every  blessing, 
If  our  God  our  Father  be. 

Saviour,  breathe  forgiveness  o'er  us; 

All  our  weakness  Thou  dost  know; 
Thou  didst  tread  this  earth  before  us, 

Thou  didst  feel  its  keenest  woe; 
Lone  and  dreary,  faint  and  weary, 

Through  the  desert  Thou  didst  go. 

Spirit  of  our  God,  descending, 
Fill  our  hearts  with  heavenly  joy; 

Love  with  every  passion  blending. 
Pleasure  that  can  never  cloy; 

Thus  provided,  pardoned,  guided. 
Nothing  can  our  peace  destroy. 

This  hymn  is  one  of  the  two  best  known  hymns  of  James 


128  FAVORITE  HYMNS 

Edmeston,  who  wrote  nearly  2000  hymns.  The  other 
widely  known  product  of  his  pen  is,  * 'Saviour,  breathe  an 
evening  Blessing." 

The  author  was  an  architect  and  surveyor  by  profession. 
He  was  active  in  church  work,  serving  for  a  number  of 
years  as  a  church  warden.  He  specialized  in  children's 
hymns,  the  simplicity  of  his  language  making  the  hymns 
he  wrote  peculiarly  adapted  to  the  use  of  children. 

Man's  need  of  each  Person  of  the  Trinity  and  the  special 
work  of  the  Three  Persons  of  the  Godhead  are  most  beauti- 
fully set  forth  in  the  three  stanzas  of  this  prayer  to  the 
Trinity. 

A  HYMN   TO   THE   TRINITY 

Come,  Thou  almighty  King, 
Help  us  Thy  name  to  sing, 

Help  us  to  praise! 
Father  all  glorious, 
O'er  all  victorious, 
Come  and  reign  over  us, 

Ancient  of  days. 

Jesus,  our  Lord,  descend; 
From  all  our  foes  defend, 

Nor  let  us  fall; 
Let  Thine  almightly  aid. 
Our  sure  defence  be  made; 
Our  souls  on  Thee  be  stayed; 

Lord,  hear  our  call! 

Come,  Thou  incarnate  Word, 
Gird  on  Thy  mighty  sword, 

Our  prayer  attend; 
Come,  and  Thy  people  bless, 
And  give  Thy  word  success; 
Spirit  of  holiness. 

On  us  descend. 


HYMNS  TO  THE  HOLY  TRINITY  129 

Come,  holy  Comforter, 
Thy  sacred  witness  bear 

In  this  glad  hour; 
Thou  who  almighty  art, 
Now  rule  in  every  heart, 
And  ne'er  from  us  depart, 

Spirit  of  power! 

To  the  great  One  in  Three 
Eternal  praises  be. 

Hence,  evermore! 
His  sovereign  Majesty 
May  we  in  glory  see, 
And  to  eternity 

Love  and  adore. 


WTio  can  sing  this  wonderful  invocation  of  the  Holy 
Trinity  and  not  be  impressed  by  the  fact  that  God  in  His 
person  and  work  is  one  Triune  God?  Beautiful  as  the 
hymn  is,  it  is  to  be  regretted  that  we  cannot  positively 
identify  the  author  and  give  him  credit  for  the  blessing 
which  his  words  are  to  believers.  The  hymn  w^as  first 
published  in  a  tract,  of  w^hich  neither  the  date  nor  author- 
ship can  be  determined.  From  this  tract  it  soon  was 
republished  with  the  "Whitfield  Collection"  of  hymns,  and 
thus  found  its  way  into  the  various  hymnals  of  the  church. 

It  is  interesting  to  note  that  the  national  song  of  England, 
**God  Save  the  King,"  was  written  and  published  in  1745, 
and  that  this  hymn,  wTitten  to  be  sung  to  the  same  tune, 
appeared  about  nineteen  years  later.  We  sing  it,  however, 
as  many  prefer  in  this  country,  to  the  tune  know^n  as 
' 'Italian  Hymn."  A  Rev.  Spencer  Madan  issued  it,  but 
made  no  claim  to  its  authorship.  Some  credit  the  words 
to  Charles  Wesley  on  the  strength  of  internal  evidence, 
but  as  the  Wesleyan  authorities  argue  against  the  crediting 


I30  FAVORITE  HYMNS 

of  the  authorship  to  Wesley  we  shall  have  to  continue  to 
love  and  use  it  without  giving  credit  to  any  author. 

Wesley's  hymn  to  the  trinity 

Charles  Wesley,  however,  has  not  left  us  in  doubt  as  to 
his  view  of  the  Trinity,  for  there  have  come  down  to  us 
two  hymns  to  the  Trinity  which  are  in  great  favor  and  wide 
use,  his  authorship  of  which  is  fully  attested.  As  an  ex- 
pression of  our  faith  in  the  Triune  God,  what  could  be  more 
expressive  than  the  following  lines? 

Wesley's  trinity  hymns 

"Hail!  holy,  holy,  holy  Lord, 

Whom  One  in  Three  we  know; 
By  all  Thy  heavenly  hosts  adored, 
By  all  Thy  Church  below. 

"One  undivided  Trinity 

With  triumph  we  proclaim; 
Thy  universe  is  full  of  Thee, 
And  speaks  Thy  glorious  name. 

"Thee,  holy  Father,  we  confess; 
Thee,  holy  Son,  adore; 
And  Thee,  the  Holy  Ghost,  we  bless, 
And  worship  evermore. 

"Hail!  holy,  holy,  holy  Lord, 
Our  heavenly  song  shall  be; 
Supreme,  essential  One,  adored 
In  co-eternal  Three!" 

His  other  hymn,  which  is  a  recognition  of  the  Trinity, 
but  somewhat  more  subjective  in  character  and  takes 
rather  the  form  of  an  address  to  God,  will  at  once  be  recalled 
by  our  quoting  the  opening  stanza: 


HYMNS  TO  THE  HOLY  TRINITY  131 

"Hail,  Father,  Son  and  Holy  Ghost, 
One  God  in  Persons  Three; 
Of  Thee  we  make  our  joyful  boast, 
Our  songs  we  make  of  Thee." 


There  comes  down  to  us  from  the  time  of  the  Reforma- 
tion a  remarkably  expressive  hymn  through  which  the 
worshiper  looks  to  the  Triune  God.  We  refer  to  that 
Trinity  hymn  by  Nikolaus  Decius.  His  German  name  was 
Von  Hofe.  The  author,  like  Luther,  was  first  a  monk  in 
the  Roman  Church.  He  had  been  prior  of  a  monastery 
at  Stetterburg,  in  Wolfenbiittel,  but  renounced  the  Roman 
faith  and  espoused  the  cause  of  the  Protestants.  At  first 
he  was  a  schoolmaster,  but  was  later  a  Lutheran  pastor 
at  Stettin,  where  he  died.  He  is  widely  and  favorably 
known  on  account  of  the  beautiful  evangelical  hymns 
which  he  composed,  the  most  celebrated  of  which  is  his 
Trinity  hymn. 


"allein  gott  in  der  hoh',  sei  ehr" 

All  glory  be  to  God  on  high, 
Who  hath  our  race  befriended! 

To  us  no  harm  shall  now  come  nigh, 
The  strife  at  last  is  ended; 

God  showeth  His  good  will  to  men, 

And  peace  shall  reign  on  earth  again; 
Oh,  thank  Him  for  His  goodness. 

We  praise,  we  worship  Thee,  we  trust, 
And  give  Thee  thanks  forever, 

O  Father,  that  Thy  rule  is  just, 
And  wise,  and  changes  never; 

Thy  boundless  power  o'er  all  things  reigns, 

Thou  dost  whate'er  Thy  will  ordains; 
Well  for  us  that  Thou  rulest! 


132  FAVORITE  HYMNS 


O  Jesus  Christ,  our  God  and  Lord, 
Son  of  Thy  heavenly  Father, 

Oh,  Thou  who  hast  our  peace  restored 
And  tjie  lost  sheep  dost  gather. 

Thou  Lamb  of  God,  to  Thee  on  high 

From  out  our  depths  we  sinners  cry, 
Have  mercy  on  us,  Jesus! 

O  Holy  Ghost,  Thou  precious  Gift, 

Thou  Comforter  unfailing. 
O'er  Satan's  snares  our  souls  uplift, 

And  let  Thy  power  availing. 
Avert  our  woes  and  calm  our  dread; 
For  us  the  Saviour's  blood  was  shed; 

We  trust  in  Thee  to  save  us! 


This  hymn  is  said  to  be  a  free  rendering  of  the  ''Gloria  in 
Excelsis."  It  was  designed  to  take  the  place  of  the  Latin 
chant  in  public  worship.  Knowing  this  fact  will  increase 
our  personal  appreciation  of  the  hymn.  It  is  in  very 
general  use  throughout  Germany.  The  dying  Christian 
has  often  made  it  his  parting  song  of  triumph.  Mendels- 
sohn has  introduced  into  his  ''St.  Paul"  the  chorale,  which 
by  some  is  attributed  to  Decius.  The  proper  tune  for 
"All  Glory  be  to  God  on  High"  is  Decius'  own  melody. 
Like  Luther,  he  was  quite  musical  and  set  his  own  hymns 
to  appropriate  music.  Through  his  hymns,  which  soon 
became  very  popular,  he  was  a  valuable  aid  in  the  "Sixteenth 
Century  Reformation,"  the  complete  success  of  which  was 
undoubtedly  hastened  by  the  strong  evangelical  hymns 
which  the  reformers  wrote  and  taught  the  people  to  sing. 

Among  the  beautiful  hymns  from  the  pen  of  Horatius 
Bonar,  a  minister  of  the  Free  Church  of  Scotland,  there  is 
one  which  as  a  "Child's  Prayer"  to  the  Trinity  is  especially 


HYMNS  TO  THE  HOLY  TRINITY  133 

beautiful  and  expressive.    It  is  in  four  stanzas,  the  first 
of  which  reads  as  follows: 

"Holy  Father,  hear  my  cry; 

Holy  Saviour,  bend  Thine  ear; 
Holy  Spirit,  come  Thou  nigh; 
Father,  Saviour,  Spirit,  hear." 

Christopher  Wordsworth,  a  prolific  English  writer  and 
theologian,  in  his  "Holy  Year,"  published,  in  1862,  a 
hymn  of  adoration  of  the  Trinity,  w^hich  has  found  a 
permanent  place  in  evangelical  hymnody.  The  original 
hymn  contained  eight  stanzas.  We  quote  only  the  first 
stanza: 

"Holy,  holy,  holy  Lord, 

God  of  hosts,  Eternal  King, 
By  the  heavens  and  earth  adored! 
Angels  and  archangels  sing, 
Chanting  everlastingly 
To  the  blessed  Trinity." 

As  an  appropriate  ending  to  this  story  of  hymns  to  the 
Trinity  nothing  could  be  found  more  appropriate  than 
John  Newton's  paraphrase  of  the  New  Testament  Benedic- 
tion, 2  Corinthians  13  :  14.  As  a  short  hymn  for  the  close 
of  worship  it  is  very  popular.  It  is  in  use  in  all  English- 
speaking  countries,  and  has  been  translated  into  several 
languages.  It  is  one  of  the  few  English  hymns  which  have 
been  translated  into  the  Latin,  the  Latin  version  being  of 
not  infrequent  use. 

Newton's  versified  benediction 

May  the  grace  of  Christ  our  Saviour, 

And  the  Father's  boundless  love, 
With  the  Holy  Spirit's  favor, 

Rest  upon  us  from  above. 


134  FAVORITE  HYMNS 

Thus  may  we  abide  in  union 

With  each  other  and  the  Lord; 
And  possess,  in  sweet  communion, 

Joys  which  earth  cannot  afford. 

The  doctrine  and  worship  of  the  Holy  Trinity,  as  set 
forth  in  song  by  these  writers  of  favorite  hymns,  is  positive 
and  clear.  A  pastor,  after  the  singing  by  his  Sunday 
school  of  Bishop  Heber's  beautiful  hymn,  tested  his  school 
by  questioning  them  concerning  the  message  of  the  hymn. 
He  found  that  the  children  had  not  only  worshiped  God, 
they  had  learned  to  know  Him  through  that  wonderful 
hymn,  which  was  full  of  meaning  even  to  the  younger 
children.  The  value  of  the  hymn  as  an  educational 
medium  as  well  as  an  act  of  worship  was  fully  proved. 

This  fact  is  worthy  of  consideration  as  we  select  and 
use  hymns  in  our  worship.  A  pleasing  melody  should  not 
determine  the  use  of  a  hymn.  The  sense  as  well  as  the 
sound  must  be  considered.  Hymns  are  a  part  of  iastruction 
as  well  as  of  devotion.  We  cannot  use  the  hymns  the 
story  of  which  we  have  just  told  without  securing  a  new 
and  a  firm  hold  on  the  great  mystery  and  vital  doctrine 
of  the  Holy  Trinity. 


PHOEBE  CAREY 


HYMNS  OF  THE  CHRISTIAN  LIFE 


Y?<  YMNS  have  helped  many  Christians  over  the  hard 
X-J.     places  in  life.    As  music  spurs  the  soldier  to  battle, 
W&d    so  also  it  inspires  the  Christian  to  spiritual  hero- 
ism.   The   trials   and    temptations   of   life   have 
tuned  many  a  Christian  poet's  lyre.     Thus  out  of  the 
personal  experience  of  the  poets  of  the  Church  have  come 
hymns  which  are  most  helpful  in  lifting  us  up  and  carrying 
us  over  the  rough  and  hard  places  in  the  Christian  path- 
way. 

Of  hymns  of  this  type,  one  which  is  at  once  a  guide  and 
an  inspiration  is  that  widely  knowTi  and  loved  hymn  of 
Count  Zinzendorf,  which  in  English  begins,  * 'Jesus,  still 
lead  on." 


"jESU,   GEH  VORAN" 

Jesus,  still  lead  on, 

Till  our  Rest  be  won! 
And  although  the  way  be  cheerless, 
We  will  follow,  calm  and  fearless. 

Guide  us  by  Thy  hand 

To  our  Fatherland ! 


If  the  way  be  drear, 

If  the  foe  be  near. 
Let  not  faithless  fears  o'ertake  us, 
Let  not  faith  and  hope  forsake  us; 

For  through  many  a  foe 

To  our  home  we  go! 
135 


136  FAVORITE  HYMNS 

When  we  seek  relief 
From  a  long-felt  grief; 
When  temptations  come  alluring, 
Make  us  patient  and  enduring: 
Show  us  that  bright  shore 
Where  we  weep  no  more! 

Jesus,  still  lead  on, 
Till  our  Rest  be  won; 
Heavenly  Leader,  still  direct  us, 
Still  support,  console,  protect  us. 
Till  we  safely  stand 
In  our  Fatherland! 


This  hymn,  written  in  1721  by  Nikolas  Ludwig,  Count 
Zinzendorf,  is  in  extensive  use  both  in  German  and  in 
English.  It  has  become  a  great  favorite  and  is  especially 
popular  as  a  hymn  for  children. 

The  author,  Count  Zinzendorf,  was  born  at  Dresden, 
May  26,  1700.  He  secured  his  education  at  Halle  and 
Wittenberg.  As  a  young  man  he  was  very  serious  and 
deeply  religious.  Possessed  of  large  estates,  he  by  force 
of  his  nature,  sympathized  with  the  persecuted  Moravians 
and  shielded  and  domiciled  many  of  them  on  his  estate. 
He  later  united  with  the  Brethren's  Church,  founded  the 
settlement  of  Herrnhut  as  a  refuge,  and  ultimately  became 
a  Moravian  minister  and  bishop. 

It  is  said  of  Zinzendorf  that  his  consecration  to  the 
religious  life  was  simultaneous  with  his  study  of  the  ''Ecce 
Homo"  in  the  Dusseldorf  Gallery.  This,  as  our  readers 
know,  is  a  wonderful  painting  of  Jesus  wearing  the  crown 
of  thorns.  It  is  said  that  as  Zinzendorf  looked  at  this  pic- 
ture, noting  the  sad  face  and  blood-red  drops  and  read 
the  superscription,  *'This  have  I  done  for  thee;  \vhat  hast 
thou  done  for  me?"    he  instantly  took  as  the  motto 


HYMNS  OF  THE  CHRISTIAN  LIFE  137 

of  his  life,  "I  have  but  one  passion,  and  that  is  He  and  only 
He."  It  is  only  another  way  of  saying  as  Paul  the  apostle 
said,  'Tor  me  to  live  is  Christ." 

Zinzendorf  wrote  his  first  hymn  when  he  was  only  twelve 
years  old.  He  wrote  his  last  one  in  1760.  Between  these 
dates  he  wrote  more  than  two  thousand  hymns.  Few, 
however,  have  lived.  His  best  hymns  were  among  his 
earlier  productions.  In  Europe,  perhaps,  his  most  widely 
used  hymn  is  "Jesu,  geh  voran,"  a  hymn  which  is  well  and 
favorably  knowTi  in  English  in  Miss  Borthwick's  transla- 
tion as  given  above. 

John  Wesley  has  translated  for  us  another  well  known 
and  widely  used  hymn  by  Zinzendorf,  which,  being  a 
hymn  of  faith  and  justification,  the  foundation  principles 
of  the  true  Christian  life,  is  a  most  valuable  contribution 
to  evangehcal  hymnody.    This  hynm  was  written  in  1739. 


Wesley's  translation  of  zinzentdorf's  hymn 

Jesus,  Thy  Blood  and  Righteousness 
My  beauty  are,  my  glorious  dress; 
'Midst  flaming  worlds,  in  these  arrayed, 
With  joy  shall  I  lift  up  my  head. 


Bold  shall  I  stand  in  Thy  great  day, 
For  who  aught  to  my  charge  shall  lay? 
Fully  through  these  absolved  I  am 
From  sin  and  fear,  from  guilt  and  shame. 

This  spotless  robe  the  same  appears, 
When  ruined  nature  sinks  in  years; 
No  age  can  change  its  constant  hue; 
Thy  Blood  preserves  it  ever  new. 


138  FAVORITE  HYMNS 

Oh,  let  the  dead  now  hear  Thy  voice; 
Now  bid  Thy  banished  ones  rejoice! 
Their  beauty  this,  their  glorious  dress, 
Jesus,  Thy  blood  and  righteousness! 


When  from  the  dust  of  death  I  rise, 
To  claim  my  mansion  in  the  skies, 
Even  then  this  shall  be  all  my  plea, 
''Jesus  hath  lived  and  died  for  me." 


A  hymn  which  is  a  prayer  for  guidance  in  the  Christian 
life  which  claims  two  men  by  the  name  of  Williams  as  its 
author  comes  to  us  from  the  musical  Welsh  people.  We 
refer  to  the  hymn,  ''Guide  me,  O  Thou  great  Jehovah." 
The  hymn  was  originally  written  in  Welsh  by  the  Rev. 
William  Williams  in  1745.  His  fellow-countryman,  the 
Rev.  Peter  Williams,  translated  the  hymn  into  English, 
making  many  alterations  and  substitutions  in  the  second 
and  third  verses.  Thus  only  the  first  stanza  belongs  in- 
disputably to  the  original  Williams;  but  as  the  Rev. 
William  Williams  is  said  to  have  been  consulted  and  to 
have  approved  the  alterations  made  by  the  Rev.  Peter 
Williams,  the  authorship  is  rightly  considered  as  a  mutual 
work  of  the  two  Welsh  clergymen. 


A  WELSH  HYMN  WITH  TWO  AUTHORS 

Guide  me,  O  Thou  great  Jehovah, 
Pilgrim  through  this  barren  land; 

I  am  weak,  but  Thou  art  mighty, 
Hold  me  with  Thy  powerful  hand; 

Bread  of  heaven, 
Feed  me  till  I  want  no  more! 


HYMNS  OF  THE  CHRISTIAN  LIFE  139 

Open  now  the  crystal  fountain, 

Whence  the  healing  streams  do  flow; 

Let  the  fiery,  cloudy  pillar, 

Lead  me  all  my  journey  through: 

Strong  Deliverer, 
Be  Thou  still  my  Strength  and  Shield! 

When  I  tread  the  verge  of  Jordan, 

Bid  my  anxious  fears  subside: 
Death  of  death  and  hell's  Destruction, 

Land  me  safe  on  Canaan's  side: 
Songs  of  praises 

I  will  ever  give  to  Thee. 

Among  modern  hymns  praying  for  guidance  one  of  the 
most  popular  is  Cardinal  Newma,n's  'Tead  Kindly  Light." 
It  is  particularly  popular  with  those  who  have  not  publicly 
accepted  the  leadership  of  theological  authority.  While  it 
is  a  hymn  which  may  induce  to  resignation,  it  scarcely 
leads  on  to  victory.  A  leading  authority  on  hymns  in  the 
Methodist  Church  says  of  it,  "I  have  not  found  it  a  help- 
ful hymn  for  dehverance  or  a  strengthening  hymn  in 
distress  and  conflict." 

We  will  appreciate  this  criticism  when  we  know  that 
Dr.  Benson,  the  great  American  authority  on  hymnology, 
says  of  Newman,  ''He  was  an  imaginative  boy,  and  so 
superstitious  that  he  used  constantly  to  cross  himself 
when  going  into  the  dark."  This  habit  of  the  author's 
mind  is  reflected  in  the  lines  of  the  hymn  which  is  a  re- 
flection of  his  religious  musings. 

An  Episcopal  clergyman,  during  the  agitations  over  the 
High  Church  movement,  through  the  influence  of  a  Roman- 
ist friend  by  the  name  of  Froude,  Newman's  Protestant 
faith  gradually  weakened.  In  his  unrest  he  traveled  to 
the  Mediterranean  coast,  and  while  on  the  way  to  Marseilles 


I40  FAVORITE  HYMNS 

he  wrote  this  hymn.  It  was  just  shortly  before  he  entered 
the  Roman  Catholic  Church,  where  be  became  a  cardinal. 
William  T.  Stead  well  says:  *'It  is  somewhat  hard  for 
the  stanch  Protestant  to  wax  enthusiastic  over  the  invoca- 
tion of  a  'Kindly  Light,'  which  led  the  author  straight  into 
the  arms  of  the  Scarlet  Woman  of  the  Seven  Hills." 
We  fancy  that  the  author  was  correct  when  he  said,  ''It 
was  not  the  hymn,  but  the  tune  that  has  gained  the  popular- 
ity."    Dr.  Dykes  wrote  the  tune  and  he  is  a  master. 

As  the  result  of  a  meditation  on  the  Twenty-third 
Psalm  while  a  young  minister  preaching  in  Philadelphia, 
Professor  Gilmore  wrote  a  hymn  which  expresses  much 
more  confidently  personal  faith  in  divine  guidance.  He 
wrote  the  verses  after  a  week-day  evening  talk,  and  handed 
them  to  his  wife.  She  without  his  knowledge  sent  the 
lines  to  The  Baptist  Watchman  and  Reflector  for  publication. 
It  was  a  number  of  years  later  that  in  leafing  through 
a  hymnal  in  the  Second  Baptist  Church  in  Rochester,  N.  Y., 
he  was  surprised  to  discover  this  hymn,  credited  to  himself 
and  appearing  as  a  hymn  of  the  church.  It  has  since 
found  its  way  into  a  number  of  the  newer  American  hymn 
books. 


PROFESSOR   GILMORE's    "hE   LEADETH  ME" 

He  leadeth  me!  O  blessed  thought! 

Oh,  words  with  heavenly  comfort  fraught! 

Whate'er  I  do,  where'er  I  be, 

StUl  'tis  God's  hand  that  leadeth  me. 

Refrain 

He  leadeth  me!  He  leadeth  me! 
By  His  own  hand  He  leadeth  me! 
His  faithful  follower  I  would  be, 
For  by  His  hand  He  leadeth  me. 


HYMNS  OF  THE  CHRISTL\N  LIFE  141 

Sometimes  'mid  scenes  of  deepest  gloom, 
Sometimes  where  Eden's  bowers  bloom, 
By  waters  calm,  o'er  troubled  sea, 
Still  'tis  His  hand  that  leadeth  me. 

I^ord,  I  would  clasp  Thy  hand  in  mine, 
Nor  ever  murmur  nor  repine; 
Content,  whatever  lot  I  see. 
Since  'tis  my  God  that  leadeth  me. 

And  when  my  task  on  earth  is  done, 
When,  by  Thy  grace,  the  victory's  won, 
E'en  death's  cold  wave  I  will  not  flee, 
Since  God  through  Jordan  leadeth  me. 


A  hymn  which  is  a  great  favorite  and  which  is  finding 
its  way  into  many  collections  is  a  hymn  written  by  a 
woman.  Keeping  before  the  Christian  the  nearness  of 
the  heavenly  goal  as  it  does,  its  musical  message  should 
strengthen  faith,  perfect  consecration  and  quicken  zeal  in 
all  who  sing  it.  We  refer  to  that  hymn  by  Phoebe  Carey, 
which,  according  to  her  ow^n  statement,  she  wTote  on  a 
Sunday  morning  in  1852  on  her  return  home  from 
church. 

The  influence  of  a  hymn  on  the  life  of  a  person  is  beauti- 
fully illustrated  by  a  story  which  is  brought  to  us  out  of 
China.  A  young  man,  just  entering  life,  was  in  an  opium 
den  in  China.  He  was  gambling  with  an  American.  The 
gambler,  while  he  showed  e\'idence  that  he  had  once  been 
a  man  of  culture,  had  a  hard  and  bitter  face.  The  young 
man  leaned  back  in  his  chair  and  waited  for  the  gambler 
to  shuffle  the  cards.  Unconsciously  he  began  to  hum  to 
himself  Phoebe  Carey's  hymn. 

As  he  hummed  he  suddenly  became  conscious  that  the 
gambler  had  dropped  the  cards  and  was  staring  at  him  with 


142  FAVORITE  HYMNS 

wild,  haggard  eyes.  With  white  lips  he  exclaimed,  ''Why- 
do  you  sing  that  song?  Why  do  you  dare  sing  that 
here?" 

The  young  man  started.  With  a  mental  effort  he  re- 
called what  he  had  been  unconsciously  singing,  and  stam- 
mered, "My  — why,  mother  and  the  girls  sing  that  at  home, 
and  it  was  just  running  through  my  head." 

The  gambler  sat  silent  for  a  few  minutes,  then  he  tore 
up  and  threw  away  the  cards,  saying  to  the  young  man 
with  whom  he  had  been  playing,  ''Years  ago  I  had  a 
beautiful  home  in  New  York — a  lovely  wife  and  a  wee  girl, 
the  idol  of  her  heart  and  mine.  My  wife  sang  wonderfully, 
and  each  evening  she  used  to  sing  that  song  you  were  just 
now  humming.  When  our  little  girl  was  too  small  to 
talk  she  used  to  jump  up  and  down  in  my  arms  and  try 
to  hum  the  air  when  her  mother  sang  the  words.  Then, 
just  as  she  was  old  enough  to  really  sing  it  with  her  mother, 
she  died.  They  sang  'her  song,'  as  she  called  it,  at  her 
funeral.  A  few  months  later  my  wife  died,  and  again 
'her  song'  was  sung.  I  sold  my  home  and  became  a 
wanderer,  a  trickster,  a  gambler.  I  intended  to  fleece 
you  out  of  every  penny  you  had.  Now  go;  I  am  done 
gambling." 

Some  years  later  a  handsome  man  called  on  Miss  Carey 
and  told  her  of  how  the  humming  of  this  hymn  had 
prevented  him  from  becoming  a  gambler  in  China.  The 
older  man  wrote  a  letter  to  the  Rev.  Dr.  Russell  H.  Con- 
well  and  told  the  same  story,  and  that  through  the  humming 
of  this  hymn  he  had  been  led  to  renounce  the  life  of  a 
gambler  and  become  a  hardworking  Christian,  who  had, 
by  the  help  of  God,  been  able  to  rehabilitate  himself  in 
the  world  of  respectable  and  honorable  people. 

How  carefully  we  should  choose  and  how  thought- 


m^MXS  OF  THE  CHRISTIAN  LIFE  143 

fully  we  should  use  the  hymns  which  may  have  such  power 
for  good  in  the  lives  of  Christian  people! 


PHGEBE  Carey's  hymn  of  devotion 

One  sweetly  solemn  thought 

Comes  to  me  o'er  and  o'er: 
I  am  nearer  my  home  today 

Than  e'er  I've  been  before: 

Nearer  my  Father's  house, 

Where  many  mansions  be, 
Nearer  the  throne  where  Jesus  reigns, 

Nearer  the  crystal  sea. 

Nearer  the  bound  of  life 

Where  burdens  are  laid  down, 

Nearer  lea\-ing  the  cross  of  grief, 
Nearer  gaining  the  crown. 

But  l>ing  dark  between, 

And  winding  through  the  night. 

Flows  on  the  deep  and  unknown  stream, 
That  leads  me  to  the  light. 

Jesus,  perfect  my  trust, 

Strengthen  my  hand  of  faith, 

And  be  Thou  near  me  when  I  stand 
Upon  the  shore  of  death. 


HYMNS  OF  CHRISTIAN  SERVICE 


ffi 


USIC  inspires  the  soldier  and  encourages  him  as  he 
goes  to  battle.  Evangelists  are  very  particular 
in  selecting  the  hymns  which  are  to  be  sung, 
especially  those  which  lead  up  to  and  which  follow 
their  sermons.  The  psychological  effect  of  wisely  chosen 
music  is  marked.  Herein,  Hes  the  value  of  music  as  an 
incentive  to  Christian  service.  Assuming,  of  course,  that 
words  and  music  are  in  harmony,  the  hymn  is  a  most  potent 
factor  in  the  development  of  Christian  efficiency.  Recog- 
nizing this  principle  and  realizing  the  natural  effect  of 
proper  hymns,  there  is  every  reason  to  make  the  most 
careful  choice  of  the  hymns  we  use.  This  is  especially 
the  case  when  we  are  endeavoring  to  lead  Christians  to 
render  greater  and  better  Christian  service. 

One  of  the  first  hymns  of  this  type  of  which  we  think  is 
Charles  Wesley's  hymn,  ^*A  charge  to  keep  I  have." 
The  occasion  of  its  writing  is  not  recorded.  It  was  written 
in  1762  and  is  in  very  general  use  in  the  hymn  books  of  the 
various  denominations. 

Wesley's  hymn  of  service 

A  charge  to  keep  I  have, 

A  God  to  glorify; 
A  never-dying  soul  to  save. 

And  fit  it  for  the  sky. 

To  serve  the  present  age, 

My  calling  to  fulfill; 
O  may  it  all  my  powers  engage 

To  do  my  Master's  will! 
144 


HYMNS  OF  CHRISTIAN  SERVICE  145 

Arm  me  with  zealous  care, 

As  in  Thy  sight  to  live; 
And  O,  Thy  servant,  Lord,  prepare, 

A  strict  account  to  give! 

Help  me  to  watch  and  pray, 

And  on  Thyself  rely, 
Assured,  if  I  my  trust  betray, 

I  shall  for  ever  die. 


Among  the  hymns  by  Philip  Doddridge  which  have  at- 
tained widest  popularity  is  one  which  is  pre-eminently  a 
hymn  of  Christian  ser\'ice.  We  refer  to  his  hymn  begin- 
ning, "Ye  servants  of  the  Lord."  It  was  not  published 
until  after  his  death,  appearing  first  in  a  posthumous 
edition  of  his  hymns  published  by  J.  Orton.  It  was 
given  the  title,  "The  Active  Christian."  The  hymn, 
which  is  in  wddest  use,  is,  as  a  rule,  published  as  originally 
written  by  Dr.  Doddridge,  an  evidence  of  its  poetic  merit 
and  hymnological  value.  Its  thoughtful  use  cannot  fail 
to  encourage  Christian  activity. 

Doddridge's  "the  active  christian" 

Ye  servants  of  the  Lord, 

Each  in  his  office  wait 
Observant  of  His  heavenly  word. 

And  watchful  at  His  gate. 

Let  all  your  lamps  be  bright, 

And  trim  the  golden  flame; 
Gird  up  your  loins,  as  in  His  sight. 

For  awful  is  His  Name. 

Watch!  'tis  your  Lord's  command; 

And  while  we  speak,  He's  near. 
Mark  the  first  signal  of  His  hand, 

And  ready  all  appear. 


146  FAVORITE  HYMNS 

O  happy  servant  he, 

In  such  a  posture  found! 
He  shall  His  Lord  with  rapture  see, 

And  be  with  honor  crowned. 

A  hymn  which  is  quite  useful  and  suggestive,  the  first 
stanza  of  which  is  very  frequently,  in  violation  of  correct 
liturgical  usage,  sung  as  the  offerings  are  being  placed  upon 
the  altar,  has  come  to  us  from  the  pen  of  William  Walsham 
How. 

how's  hymn  of  service 

We  give  Thee  but  Thine  own, 

Whate'er  the  gift  may  be: 
All  that  we  have  is  Thine  alone, 

A  trust,  O  Lord,  from  Thee. 

May  we  Thy  bounties  thus 

As  stewards  true  receive. 
And  gladly,  as  Thou  blessest  us. 

To  Thee  our  first  fruits  give. 

O  hearts  are  bruised  and  dead. 

And  homes  are  bare  and  cold. 
And  lambs,  for  whom  the  Shepherd  bled, 

Are  straying  from  the  fold! 

To  comfort  and  to  bless, 

To  find  a  balm  for  woe, 
To  tend  the  lone  and  fatherless, 

Is  angels'  work  below. 

The  captive  to  release, 

The  lost  to  God  to  bring, 
To  teach  the  way  of  life  and  peace — 

It  is  a  Christ-like  thing. 

And  we  believe  Thy  word, 

Though  dim  our  faith  may  be; 
Whate'er  we  do  for  Thine,  O  Lord, 

We  do  it  unto  Thee. 


HYMNS  OF  CHRISTIAN  SERVICE  147 

This  is  one  of  Bishop  How's  best  known  hymns.  A  critic 
in  speaking  of  it  has  said  it  is  a  hymn  which  has  attained 
foremost  rank  because  it  is  such  a  simple,  unadorned  and 
enthusiastically  practical  hymn.  Looked  at  from  this 
point  of  view  we  will  quickly  note  its  merit  and  learn  to 
use  it  that  we  may  catch  and  spread  the  spirit  of  service 
which  it  breathes. 

Perhaps  one  of  the  hymns  which  in  respect  to  compre- 
hensiveness of  service  excels  all  others  has  come  from  the 
pen  of  a  woman  who  has  added  some  valuable  contributions 
to  English  Evangelical  hymnody.  We  refer  to  Frances 
Ridley  Havergal,  who  in  1874  wrote  the  hymn  to  which 
we  refer.    It  is  a  hymn  which  might  aptly  be  styled 


"a  hymn  of  complete  consecration' ' 

Take  my  life  and  let  it  be 
Consecrated,  Lord,  to  Thee; 

Take  my  moments  and  my  days, 
Let  them  flow  in  ceaseless  praise. 


Take  my  hands  and  let  them  move 
At  the  impulse  of  Thy  love; 

Take  my  feet,  and  let  them  be 
Swift  and  beautiful  for  Thee. 


Take  my  voice,  and  let  me  sing 
Always,  only,  for  my  King; 

Take  my  lips,  and  let  them  be 
Fill'd  with  messages  from  Thee. 

Take  my  silver  and  my  gold, 
Not  a  mite  would  I  withhold; 

Take  my  intellect,  and  use 

Every  power  as  Thou  shalt  choose. 


148  FAVORITE  HYMNS 

Take  my  will  and  make  it  Thine; 

It  shall  be  no  longer  mine; 
Take  my  heart,  it  is  Thine  own; 

It  shall  be  Thy  royal  throne. 


Take  my  love;  my  Lord  I  pour 
At  Thy  feet  its  treasured  store; 

Take  myself,  and  I  will  be, 
Ever,  only,  all  for  Thee. 


This  is  a  characteristic  hymn  from  the  pen  of  Miss 
Havergal,  who  has  sometimes  been  called  "The  Theodocia 
of  the  19th  Century."  She  was  the  daughter  of  a  Church 
of  England  clergyman,  born  at  Astley,  Worcestershire, 
England,  December  14,  1836.  The  type  of  her  hymns  is 
interesting  and  is  by  some  accredited  to  an  incident  of 
her  girlhood.  When  quite  a  young  girl  she  visited  the  art 
gallery  of  Dusseldorf,  Prussia,  where  she  was  attending 
school.  She  saw  and  was  deeply  impressed  by  the  great 
picture  of  the  head  of  Christ,  the  "Ecce  Homo."  The 
sight  of  this  picture  affected  her  much  as  it  did  Count 
Zinzendorf ,  and  apparently  had  much  to  do  with  the  early 
experience  of  this  gifted  girl,  and,  in  fact,  it  evidently  in- 
fluenced her  entire  life.  One  of  the  immediate  results  of 
her  viewing  the  picture  is  one  of  her  earliest  hymns,  which 
inspired  by  the  "Ecce  Homo,"  flowed  from  her  heart  and 
pen.    Here  is  the  verse — 

'T  gave  My  life  for  thee, 

My  precious  blood  I  shed, 
That  thou  might 'st  ransomed  be 

And  quickened  from  the  dead. 
I  gave  My  life  for  thee: 

What  hast  thou  given  for  Me?" 


HYMXS  OF  CHRISTIAN  SERVICE  149 

If  the  viewing  of  a  picture  could  thus  mould  a  life  and 
move  a  pen  to  write  so  beautifully  and  with  such  perfect 
consecration,  is  it  not  important  that  we  should  care- 
fully choose  the  pictures  we  \iew  and  the  hymns  we  sing? 
Church  art  as  w^ell  as  evangelical  hymnody  are  worthy 
of  more  thoughtful  study  than  is  ordinarily  accorded 
them. 


MORNING  HYMNS 


OAYBREAK  and  sunrise  are  inspiring.  Morning 
with  its  beauties,  its  blessings  and  its  privilesres 
k^mM  should  make  any  observing  person  think  of  God 
and  inspire  him  to  worship.  This  was  the  case 
with  a  German  nobleman,  Friederich  Rudolph  von  Canitz, 
a  legal  counselor  at  Berlin,  who  was  a  genius  and  a  man 
distinguished  for  worldly  success  and  for  Christian  holiness. 
It  is  said  of  him  that  on  the  last  morning  of  his  life,  as 
day  was  breaking,  he  requested  that  he  be  drawn  to  the 
window  of  his  sick-chamber  that  he  might  look  once  more 
upon  the  rising  sun.  After  looking  steadily  at  it  for  a  time, 
he  exclaimed,  "Oh,  if  the  appearance  of  this  earthly  thing 
is  so  beautiful  and  quickening,  how  much  more  shall  I  be 
enraptured  at  the  sight  of  the  unspeakable  glory  of  the 
Creator  Himself!"  That  was  the  feeling  of  a  man  whose 
sense  of  earthly  beauty  had  all  the  keenness  of  a  poet's 
enthusiasm,  and  who,  in  his  greatest  health  and  vigor, 
preserved  the  consciousness  that  his  life  was  hid  with 
Christ  in  God.  Is  there  any  wonder  that  out  of  this 
deeply  pious  heart  and  this  poetic  mind  of  a  soul  that 
loved  nature  and  let  it  teach  of  the  God  whom  he  loved 
supremely  there  should  have  been  born  a  hymn  which  is  at 
once  a  call  to  service,  a  prayer  for  guidance  and  blessing 
and  a  hymn  of  praise  to  the  divine  Creator,  a  real  doxology 
to  the  Triune  God?  All  this  we  find  in  von  Canitz* 
hymn. 

ISO 


BISHOP  KEN 


MORNING  HYMNS  151 

SEELE   DU  MUSST   MUNTER  WERDEN 

Come,  my  soul,  thou  must  be  waking; 
Now  is  breaking 

O'er  the  earth  another  day; 
Come  to  Him  who  made  the  splendor, 
See  thou  render 

All  thy  feeble  strength  can  pay. 

Gladly  hail  the  sun  returning; 
Ready  burning 

Be  the  incense  of  thy  powers; 
For  the  night  is  safely  ended; 
God  hath  tended 

With  His  care  thy  helpless  hours. 

Pray  that  He  may  prosper  ever 
Each  endeavor, 

When  the  aim  is  good  and  true; 
But  that  He  may  ever  thwart  thee, 
And  convert  thee. 

When  thou  evU  wouldst  pursue. 

Only  God's  free  gift  abuse  not, 
Light  refuse  not, 

But  His  Spirit's  voice  obey; 
Thou  \\ith  Him  shalt  dwell,  beholding 
Light  enfolding 

All  things  in  unclouded  day. 

Glory,  honor,  exaltation, 
Adoration, 

Be  to  the  Eternal  One; 
To  the  Father,  Son  and  Spirit, 
Laud  and  merit, 

While  unending  ages  run. 


In  the  translation  which  we  have  given  above  this  hymn 
was  published  in  England  in  1838.    It  has  been  growing  in 


152  FAVORITE  HYMNS 

favor  ever  since.  This  is  very  natural  when  we  note 
the  devout  trust  and  deep  piety  which  are  so  beautifully 
expressed  in  the  hymn  which  von  Canitz  wrote  as  the 
deep  feeling  of  a  soul  that  loved  God's  mornings. 

Another  most  expressive  morning  hymn  which  has  come 
to  us  out  of  the  rich  storehouse  of  German  hymnody  is  the 
hymn, 

MORGENGLANZ  DER  EWIGKEIT 

Jesus,  Sun  of  Righteousness, 

Brightest  beam  of  love  divine, 
With  the  early  morning  rays 

Do  Thou  on  our  darkness  shine, 
And  dispel  with  purest  light 
All  our  long  and  gloomy  night! 

Like  the  sun's  reviving  ray, 

May  Thy  love,  with  tender  glow, 

All  our  coldness  melt  away, 
Warm  and  cheer  us  forth  to  go, 

Gladly  serve  Thee  and  obey 

All  our  life's  short  earthly  day! 

Thou  our  only  Hope  and  Guide! 

Never  leave  us  nor  forsake; 
In  Thy  light  may  we  abide 

Till  the  endless  morning  break; 
Moving  on  to  Zion's  hill, 
Onward,  upward,  homeward  still! 

Lead  us  all  our  days  and  years 
In  Thy  strait  and  narrow  way; 

Lead  us  through  the  vale  of  tears 
To  the  land  of  perfect  day, 

Where  Thy  people,  fully  blest. 

Near  Thy  throne  for  ever  rest. 

Possibly  due  to  the  peculiarity  of  the  meter,  this  hymn 


MORNING  HYMNS  153 

is  not  as  widely  used  as  its  merit  would  warrant  us  to 
expect.  Yet  there  have  been  more  than  a  dozen  transla- 
tions of  it  published,  and  when  it  is  once  learned  it  is 
always  loved.  This  is  natural,  for  it  is  so  simple  and  trust- 
ful, prayerful  and  hopeful  that  it  cannot  fail  to  appeal 
and  inspire. 

The  author  of  this  hymn.  Christian  Knorr  von  Rosen- 
roth,  graduated  at  both  Leipzig  and  Wittenberg  Univer- 
sities. He  traveled  extensively,  and  through  an  acquain- 
tance with  an  Armenian  prince  became  interested  in 
oriental  languages.  He  was  also  an  eminent  scientist. 
But  learning  did  not  prevent  the  development  of  his  native 
German  piety,  which  found  expression  in  about  seventy 
hymns,  which  were  pronounced  "truly  pious  and  spiritual." 
Knorr 's  morning  hymn  first  appeared  in  1684.  The 
translation  which  we  have  given  above  is  a  free  translation 
from  the  original,  made  by  Miss  Jane  Borthwick  in  1853. 

It  might  be  noted  in  this  connection  that  Miss  Borth- 
wick, who  was  born  at  Edinburg,  Scotland,  April  9,  18 13, 
has  served  the  English-speaking  Church  well  by  her 
translation  of  "German  Hymns  from  the  Land  of  Luther." 
Her  book  of  translations  has  gone  through  a  number  of 
editions.  It  contains  relatively  a  large  proportion  of 
hymns  for  the  Christian  life  and  reflects  that  wholesome 
type  of  piety  which  is  characteristically  German. 

A  morning  hymn  which  is  given  first  place  in  the  estimate 
of  the  great  majority  of  people,  and  rightly  so,  is  Bishop 
Ken's  morning  hymn.  Written  in  1695  ^^^  rewritten 
in  1709  with  certain  variations,  the  original  hymn  has 
fourteen  stanzas.  On  account  of  its  length  it  is  sometimes 
divided,  and  in  many  hymnals  only  selected  verses  are 
taken.    There  are  few  books  today  in  which  it  is  not  found. 


154  FAVORITE  HYMNS 

The  last  stanza,  which  is  familiarly  called  the  Long  Meter 
doxology,  is  the  most  widely  used  short  hymn  in  the  world. 


BISHOP   KEN  S  MORNING  HYMN 

Awake,  my  soul,  and  with  the  sun 
Thy  daily  stage  of  duty  run; 
Shake  off  dull  sloth,  and  joyful  rise 
To  pay  thy  morning  sacrifice. 

Wake  and  lift  up  thyself,  my  heart, 
And  with  the  angels  bear  thy  part, 
Who  all  night  long  unwearied  sing 
High  praise  to  the  eternal  King. 

All  praise  to  Thee,  who  safe  hast  kept. 
And  hast  refreshed  me  while  I  slept; 
Grant,  Lord,  when  I  from  death  shall  wake, 
I  may  of  endless  life  partake! 

Lord,  I  my  vows  to  Thee  renew; 
Disperse  my  sins  as  morning  dew; 
Guard  my  first  springs  of  thought  and  will. 
And  with  Thyself  my  spirit  fill. 

Direct,  control,  suggest,  this  day, 

All  I  design,  or  do,  or  say; 

That  all  my  powers,  with  all  their  might. 

In  Thy  sole  glory  may  unite. 

Praise  God,  from  whom  all  blessings  flow; 
Praise  Him,  all  creatures  here  below; 
Praise  Him  above,  ye  heavenly  host; 
Praise  Father,  Son,  and  Holy  Ghost. 

The  author  of  this  hymn  led  a  troubled  and  eventful 
life.  He  lived  during  the  reign  of  King  Charles  II  of 
England.    As  those  who  know  history  well  know  Charles 


I 


MORNING  HYMNS  155 

II  had  little  interest  in  hymns  or  in  anything  religious. 
He  was  a  dissipated  man.  It  is  told  by  his  biographers  that 
Bishop  Ken  was  not  afraid  of  the  king  and  that  he  again 
and  again  courageously  reproved  him.  The  king  was 
not  annoyed  by  the  plainness  of  speech  of  the  bishop, 
whom  he  proverbially  called  "the  good  little  man."  At 
chapel  time  he  was  in  the  habit  of  saying,  ''I  must  go  in 
and  hear  Ken  tell  me  of  my  faults." 

Bishop  Ken's  courage  in  denouncing  immorality  is  seen 
in  his  refusal  to  admit  Nell  Gw^nine  to  his  house  at  the 
command  of  King  Charles,  who  so  admired  his  courage 
that  instead  of  punishing  him  he  appointed  him  Bishop  of 
Bath  and  Wells.  But  he  did  not  always  fare  so  well.  He 
was  one  of  the  seven  bishops  who  were  imprisoned  under 
James  the  Papist  for  his  opposition  to  the  king's  religion. 
He  w^as  deprived  of  his  bishopric  by  William  III  and  spent 
his  remaining  days  living  quietly  in  a  house  loaned  to  him 
by  a  friend.  He  was  seventy-four  years  old  when  he 
died.  At  his  owa  request  "six  of  the  poorest  men  in  the 
parish  carried  him  to  his  grave." 

It  will  give  a  new  interest  and  a  deeper  meaning  to 
Bishop  Ken's  morning  hymn  for  us  to  know  that  he  used 
to  sing  it  to  his  own  accompaniment  on  the  lute  every 
morning,  and  that  when  he  died  at  his  request  he  was 
buried  under  the  east  window  of  the  chancel  of  Frome 
Church,  the  services  being  held  at  sunrise.  His  mourning 
friends  sang,  in  the  first  light  of  the  dawning  day, 

"Awake,  my  soul,  and  with  the  sun 
Thy  daily  stage  of  duty  run." 

To  Bishop  Ken,  whose  character,  Macauly  says,  ap- 
proached as  nearly  as  human  infirmity  permits  to  the  ideal 
perfection  of  Christian  virtue,  the  passing  from  earth  was 


156  FAVORITE  HYMNS 

the  entrance  into  larger  life  and  fuller  service.  Hence 
the  appropriateness  of  singing  his  daily  morning  hymn 
prayer  at  his  funeral  as  suggestive  not  only  of  the  bishop's 
future  life,  but  as  an  incentive  to  their  own  closer  and  more 
consecrated  life. 

The  morning  and  evening  hymns  of  Bishop  Ken  first 
appeared  in  a  manual  of  prayers  for  the  use  of  the  students 
of  Winchester  College.  They  were  accompanied  with 
an  injunction  from  the  writer  that  they  should  be  sung 
devoutly  by  the  scholars  in  their  chambers  morning  and 
evening.  A  heeding  of  this  injunction  of  the  singing 
preacher  of  a  former  generation  would  quicken  spiritual 
life  by  developing  a  stronger  and  more  intense  personal 
religion.  Too  many  are  contented  with  a  pew  edition  of 
the  hymns  which  are  sung  in  the  sanctuary,  and  forget 
that  a  book  of  worship  is  a  manual  which  may  be  most  use- 
ful in  private  worship.  With  this  thought  in  mind  we  will, 
as  we  repeat  the  selected  verses  of  this  old  hymn,  see  how 
personal  it  is  and  how  it  individualizes  our  communion 
with  God. 

There  is  a  most  beautiful  morning  hymn  for  the  Httle 
ones  which  was  written  by  a  Methodist  clergyman,  the 
Rev.  Dr.  Thomas  Osmond  Summers.  The  language,  the 
rhythm,  as  well  as  the  tune  to  which  it  is  ordinarily  sung, 
make  this  hymn  peculiarly  a  hymn  for  the  little  folks. 

THE   LITTLE   FOLKS '   MORNING  HYMN 

The  morning  bright, 
With  rosy  light, 

Hath  waked  me  from  sleep; 
Father,  I  own 
Thy  love  alone, 

Thy  little  ones  doth  keep. 


MORNING  HYMNS  157 


All  through  the  day, 
I  humbly  pray, 

Be  Thou  my  Guard  and  Guide; 
My  sins  forgive, 
And  let  me  Hve, 

Blest  Jesus,  near  Thy  side. 

Oh,  make  Thy  rest. 
Within  my  breast, 

Great  Spirit  of  all  grace; 
Make  me  like  Thee, 
Then  shall  I  be 

Prepared  to  see  Thy  face. 

To  Father,  Son 
And  Spirit,  One, 

Great  God  whom  I  adore, 
All  glory  be. 
My  God,  to  Thee 

Both  now  and  evermore. 

With  the  exception  of  the  doxology,  which  was  written 
and  added  to  the  hymn  by  Godfrey  Thring  in  1882, 
the  author,  Rev.  Dr.  Summers,  tells  us  an  interesting 
story  of  when  and  how  he  wrote  this  ''Morning  Hymn." 
He  wrote  the  verses  for  his  first  child,  a  little  girl,  in  Janu- 
ary, 1845.  He  says  that  when  she  was  about  a  year  old 
he  was  going  down  the  Tombigbee  River  in  a  small  river 
steamer.  ''In  the  quiet  morning,  riding  on  the  river  and 
thinking  of  my  little  girl,  I  wrote  a  morning  hymn  for 
her  on  the  back  of  an  envelope.  When  I  reached  Mobile 
I  transcribed  it  and  sent  it  to  her  at  Tuskaloosa."  This 
was  the  origin  of  this  morning  hymn  for  the  little  ones. 
Several  years  later,  as  editor  of  the  Southern  Christian 
Advocate,  Dr.  Summers  published  it  anonymously  in  the 
"Children's  Page."  It  was  T\idely  copied  and  soon  found 
its  way  into  the  Sunday  school  and  church  hymnals. 


158  FAVORITE  HYMNS 


Dr.  Summers  wrote  a  twin  hymn  to  this  called  'The 
Daylight  Fades."  It  is  the  children's  evening  hymn,  and 
was  written  for  his  second  daughter  in  1847.  Written 
for  the  children  by  a  father  who  loved  children,  and  who 
was  a  man  who  combined  poetic  talent  with  a  personal 
experience  of  true  Christian  piety,  his  hymns,  when  the 
story  of  their  origin  is  known,  will  appeal  still  more  to  the 
little  folks,  who  should  be  taught  not  only  the  words,  but 
the  atmosphere  and  the  purpose  of  the  hymns  which  they 
sing.  When  they  catch  the  spirit  that  is  in  them  their 
singing  will  be  as  music  to  their  own  souls,  developing  the 
Christian  harmony  of  a  beautiful  life  for  them  through 
their  use. 

He  is  to  be  pitied  who  does  not  love  good  hymns.  It 
has  been  claimed  by  some  that  Luther  did  as  much  for  the 
Reformation  by  his  hymns  as  by  his  sermons.  Certainly 
the  good  old  hymns  of  the  Reformation  were  a  power. 
The  great  hymns  which  are  so  widely  used  and  so  popular 
today  are  like  sweet  flowers  along  the  Christian's  pathway, 
adding  beauty  and  sweetness  to  the  earthly  way  toward  the 
heavenly  city.  They  are  more  than  that  when  we  come 
to  know  their  content  and  intent.  Through  the  story  of 
their  origin  and  use  they  become  a  powerful  factor  in  sup- 
porting and  spreading  the  doctrines  of  the  Church.  They 
help  materially  in  molding  the  individual  Christian  life. 
The  choice  and  use  of  hymns  is  important  in  the  conduct 
of  worship. 


EVENING  HYMNS 


J^^  HE  evening  vespers,  whether  they  be  held  in  the 
^mJ      church,   in   some   institutional   chapel,   in   some 
S^»     family  circle,  or  in  the  closet  of  the  individual 
Christian,  lend  themselves  most  beautifully  to  the 
cultivation  of  the  devotional  life.     It  is  a  great  pity,  there- 
fore, that  the  strenuousness  of  present-day  living  and  the 
spirit  of  worldliness  and  pleasure-seeking  have  brought 
into  disuse  the  daily  evening  family  worship,  which  was  so 
general  a  generation  ago.     We  preface  our  consideration 
of  a  few  favorite  evening  hymns  with  this  thought,  because 
a  large  number  of  those  hymns  had  their  origin  in  an  effort 
to  provide  for  the  needs  of  vesper  worshipers.     Possibly 
calling  attention  to  the  fact  may  result  in  the  setting  up  of 
a  few  more  family  altars  in  Christian  homes. 

As  the  evening  draws  on  and  the  light  seems  to  melt  into 
darkness,  how  appropriate  are  the  words  of  the  evening 
hymn  of  Bishop  George  W.  Doane! 

BISHOP  DOANE's  evening  HYMN 

Softly  now  the  light  of  day 
Fades  upon  my  sight  away; 
Free  from  care,  from  labor  free, 
Lord,  I  would  commune  with  Thee! 

Thou  whose  all-pervading  eye 
Naught  escapes  without,  within, 

Pardon  each  infirmity, 
Open  fault,  and  secret  sin. 
159 


l6o  FAVORITE  HMYNS 

Soon  for  me  the  light  of  day- 
Shall  forever  pass  away; 
Then,  from  sin  and  sorrow  free, 
Take  me,  Lord,  to  dwell  with  Thee! 

Thou  who,  sinless,  yet  hast  known 

All  of  man's  infirmity; 
Then  from  Thine  eternal  throne, 

Jesus,  look  with  pitying  eye. 

This  hymn,  which  was  published  in  1824,  is  one  of  the 
few  American  hymns  which  has  found  a  place  in  hymn 
books  across  the  sea,  being  published  in  several  English 
collections. 

The  author  was  born  at  Trenton,  N.  J.  He  was  ordained 
an  Episcopal  rector  in  182 1.  After  serving  in  several 
places,  in  1832  he  became  bishop  of  New  Jersey.  This 
hymn  heads  the  list  of  his  hymns.  While  he  ranked  high 
as  one  of  the  great  prelates  of  his  church,  he  will  go  down 
in  history  as  a  poet  of  more  than  average  merit,  his  poetic 
fame  resting  principally  upon  his  hymns. 

We  venture  the  assertion,  without  fear  of  being  ques- 
tioned, that  the  most  widely  known  and  the  general  favorite 
evening  hymn  is  John  Keble's  ''Sun  of  My  Soul,  Thou 
Saviour  Dear."    It  has  been  aptly  called 

"the  masterpiece  of  evensong" 

Sun  of  my  soul,  Thou  Saviour  dear, 
It  is  not  night  if  Thou  be  near; 
Oh,  may  no  earth-born  cloud  arise 
To  hide  Thee  from  Thy  servant's  eyes. 

When  the  soft  dews  of  kindly  sleep 
My  wearied  eyelids  gently  steep. 
Be  my  last  thought,  how  sweet  to  rest 
Forever  on  my  Saviour's  breast! 


EVENING  HYMNS  i6l 


Abide  with  me  from  morn  till  eve, 
For  without  Thee  I  cannot  live; 
Abide  with  me  when  night  is  nigh, 
For  without  Thee  I  dare  not  die. 

If  some  poor  wandering  child  of  Thine 
Have  spurned  today  the  voice  divine, 
Now,  Lord,  the  gracious  work  begin; 
Let  him  no  more  lie  down  in  sin. 

Watch  by  the  sick;  enrich  the  poor 
With  blessings  from  Thy  boundless  store; 
Be  every  mourner's  sleep  tonight. 
Like  infant's  slumbers,  pure  and  light. 

Come  near  and  bless  us  when  we  wake, 
Ere  through  the  world  our  way  we  take; 
Till  in  the  ocean  of  Thy  love 
We  lose  ourselves  in  heaven  above. 

It  is  impossible  to  join  with  Christian  people  in  the  sing- 
ing of  this  hymn  without  feeling  that  we  are  being  brought 
into  close  fellowship  w4th  Jesus.  The  song  lifts  us  into 
an  atmosphere  of  sweetest  communion  with  our  blessed 
Saviour. 

A  thoughtful  use  of  the  hyinn  reveals  something  so 
exquisitely  tender  in  the  sacred  lines — it  brings  Christ 
so  near — that  we  naturally  feel  that  the  author  of  such  a 
hymn  must  have  been  not  only  a  scholar  and  a  poet,  but 
a  man  of  deepest  piety. 

In  this  expectation  we  are  not  disappointed.  The 
author,  the  Rev.  John  Keble,  was  a  man  of  highest  scholarly 
attainments,  a  true  poet,  or  he  never  could  have  produced 
that  beautiful  and  popular  book,  'The  Christian  Year." 
These  qualifications  were  ennobled  and  purified  by  the 
power  of  Christian  faith  to  a  rare  degree.  ''Sweetness  and 
light  harmoniously  blended  in  the  character  and  life  of 


l62  FAVORITE  HYMNS 

Keble  to  a  marked  degree."  This  explains  why  he  sang 
so  much  that  so  many  other  Christians  love  to  sing.  It 
also  suggests  to  us  the  value  of  going  back  of  mere  words 
and  melody  to  find  the  soul  of  the  hymns  we  use  in  our 
worship.  If  we  succeed  in  leading  only  a  few  to.study  the 
hymns  of  the  Church  in  this  way,  we  will  be  fully  repaid 
for  the  pleasure  we  have  had  in  searching  for  the  story  of 
the  origin  and  use  of  a  few  of  our  favorite  hymns. 

Notwithstanding  the  very  wide  use  and  great  popularity 
of  this  hymn,  strange  though  it  may  seem,  the  immediate 
circumstances  under  which  it  was  inspired  are  not  known. 
Whether  some  incident  or  occasion  called  it  forth  from  the 
poetic  soul  of  the  author,  or  whether  it  was  merely  a 
natural  outflow  of  his  personal  spiritual  consciousness, 
makes  little  difference.  The  fact  is,  it  breathes  the  spirit 
of  a  man  who  lived  in  sweet  communion  wdth  Christ. 
It  expresses  so  beautifully  and  so  fully  the  personal  feeling 
of  one  who  lives  in  most  intimate  fellowship  with  the 
Saviour  that  we  recognize  in  its  wide  popularity  a  testi- 
mony to  the  fact  that  there  are  multitudes  of  devoted 
Christian  people  who  enjoy  communion  with  Christ  and 
place  reliance  upon  His  nearness. 

This  explains  why,  while  Keble's  '' Christian  Year'* 
as  a  book  has  been  widely  published  and  in  editions  as 
large  as  a  hundred  thousand  copies,  this  hymn  is  known 
not  only  to  the  thousands  who  have  and  enjoy  the  book, 
but  it  is  known  to  millions  and  loved  by  them.  The  music 
of  its  verse  is  familiar  in  every  nook  and  corner  of  the 
English-speaking  world.  This  fact  gives  a  deep  and  a 
personal  meaning  to  our  confession  in  the  creed  of  our 
faith  in  ''the  communion  of  saints."  They  have  such 
communion  through  their  common  and  close  communion 
with  the  Saviour  Himself. 


EVENING  HYMNS  163 


From  a  wild  and  tempest-tossed  sea  there  comes  a  touchr 
ing  story  that  associates  with  this  hymn.  As  dusk  came 
on  in  a  wild  sea  a  gallant  ship  went  to  her  doom.  A  few 
women  and  children  had  been  placed  in  a  boat,  but  broke 
loose  and  drifted  away,  at  the  mercy  of  the  waves,  with 
no  one  to  row  or  to  guide.  Earlier  in  the  evening,  before 
the  darkness  had  quite  settled  down,  brave  men  on  the 
shore  had  seen  their  plight  and  started  to  the  rescue.  In 
spite  of  the  tempest  they  hoped  to  save  the  lives  of  the 
imperiled  ones,  but  it  became  so  dark  they  could  see  noth- 
ing and  could  not  find  the  ship.  After  a  fruitless  search 
they  turned  by  the  compass  to  head  for  the  shore,  when, 
far  out  on  the  water,  and  above  the  wail  of  the  wind  and 
storm,  they  heard  a  woman's  clear  voice  singing^ 

"Sun  of  my  soul,  Thou  Saviour  dear. 
It  is  not  night  if  Thou  be  near." 

Turning  toward  the  sound  and  bending  to  the  oar,  the 
work  of  rescue  was  quickly  accomplished.  The  singing  of 
Keble's  hymn  undoubtedly  saved  this  boatload  of  human 
lives.  Certainly  before  morning  they  would  have  drifted 
beyond  human  help  or  have  been  dashed  to  pieces  on  the 
rocks. 

Among  the  finest  evening  hymns  we  know  is  one  the 
use  of  which  in  English  is  somewhat  limited,  although 
there  are  several  excellent  translations.  We  believe  that 
the  hymn  will  in  time  be  a  general  favorite  among  those 
worshiping  in  English,  as  it  is  today  a  universal  favorite 
with  German  people  and  German  congregations.  We 
refer  to  the  hymn,  simple  and  homely  in  style,  which 
yet  has  taken  fir«mest  hold  of  the  Germans'  hearts, 
namely, 


1 64  FAVORITE  HYMNS 

Gerhard's  nun  ruhen  alle  waelder 

Now  hushed  are  woods  and  waters, 
At  rest  toil's  sons  and  daughters, 

The  world  a-slumber  lies: 
But  thou,  my  soul,  awake  thee, 
To  prayer  and  song  betake  thee. 

And  bid  their  grateful  incense  rise. 

Sun,  whither  hast  thou  vanished? 
The  night  day's  foes  has  banished 

At  length  each  lingering  beam; 
But  Jesus  now  draws  nearer, 
A  better  Sun,  and  dearer, 

Sheds  through  my  heart  a  warmer  gleam. 

The  day  has  fled  defeated — 
In  heaven's  deep  azure  seated, 

Stars  shine,  a  golden  band; 
I,  too,  on  that  bright  morrow. 
Called  from  this  vale  of  sorrow, 

Like  them,  in  heaven  with  God  shall  stand. 

To  rest  my  body  hasteth, 
Aside  its  garments  casteth, 

Types  of  our  mortal  stata; 
When  I  put  off  this  mortal. 
At  death's  mysterious  portal, 

Christ's  pure  white  robes  my  soul  await. 

This  hymn  has  been  pronounced  one  of  the  finest  of 
Paul  Gerhard's  hymns.  Considering  the  number  and  the 
beauty  and  evangelical  richness  of  the  hymns  of  Gerhard, 
this  is  high  praise.  Of  this  hymn  Baron  Bunsen  wrote,  in 
1830:  "Ever  since  its  publication  this  hymn  has  been  one 
of  the  most  beloved  and  best  known  hymns  of  devout 
meditation  over  the  whole  of  Germany.  Experienced 
and  conceived  in  a  truly  childlike,  popular  spirit,  it  unites 


EVENING  m^MNS  165 


with  rare  naive  simplicity  of  expression,  a  loftiness  of 
thought,  a  depth  of  Christian  experience,  a  grace  of 
poetry,  so  that  for  this  union  of  qualities  it  must  rank 
as  an  enduring  masterpiece  among  hymns." 

This  hymn,  which  we  have  furnished  in  the  English 
translation  of  Frances  Elizabeth  Cox,  may,  perhaps,  be 
raised  in  our  estimation  by  the  knowledge  of  the  fact  that 
it  was  a  special  favorite  of  the  great  German  poet,  Schiller, 
who  learned  to  love  it  from  his  mother.  This  brief  glimpse 
into  the  early  home  of  the  poet  is  a  suggestion  of  the  Ger- 
man home  life,  which,  perhaps,  accounts  for  the  fact  that 
there  are  so  many  more  German  hymns  than  there  are 
English  ones.  It  is  a  part  of  the  German  home  life  to 
sing. 

A  hymn  which  is  primarily  a  hymn  for  the  evening  of 
life,  but  which  has  come  to  be  a  general  favorite  as  a  vesper 
hymn,  is  the  "Swan  Song,"  of  that  young  English  clergy- 
man and  hymn- writer,  the  Rev.  Henry  Francis  Lyte. 
The  author  of  this  hymn  was  a  Scotchman,  born  at  Felso, 
Scotland,  June  i,  1793. 

He  was  in  failing  health,  and,  having  been  ordered  to 
leave  England,  where  he  had  serv^ed  for  a  number  of  years 
as  rector  at  Lower  Brixham,  on  the  shores  of  Torbay, 
England,  he  preached  his  farewell  sermon  on  Sunday, 
September  5,  1847.  Toward  evening  of  the  same  day  he 
walked  out  along  the  shore  and  witnessed  the  sun  setting 
in  red  and  gold.  It  was  a  most  beautiful  and  peaceful 
evening.  Returning  and  meditating,  he  sat  down  at  his 
desk  and  wrote.  Presently  he  placed  in  the  hands  of  a 
member  of  his  family  the  manuscript  of  the  hymn,  "Abide 
With  Me;  Fast  Falls  the  Eventide."  In  the  prime  of  life, 
he  had  hoped  to  live,  but  if  this  privilege  was  not  granted 


1 66  FAVORITE  HYMNS 

him  he  prayed  that  he  might  be  able  to  do  something 
which  would  prove  of  lasting  benefit  to  the  Church. 
His  prayer  was  answered,  for  in  this  ''Swan  Song"  was  his 
benediction,  for  he  never  preached  again.  The  following 
day  he  started  for  the  South,  but  did  not  live  to  complete 
his  journey.  He  died  in  France,  his  remains  being  buried 
in  the  English  cemetery  in  Nice.  His  grave  is  the  Mecca 
of  many  pilgrims,  some  of  whom  testify  that  this  hymn  has 
been  of  greatest  spiritual  help  to  them. 

Knowing  the  story  of  this  hymn,  that  it  was  the  very 
last  work  of  an  earnest  evangelical  minister,  we  read  new 
meaning  in  its  lines,  and  hereafter  when  we  sing  it  we 
will  necessarily  be  drawn  upward  and  closer  to  God  and 
will  feel  the  certainty  of  the  eternal  and  the  need  of  a 
Saviour  as  we  sing  the  closing  stanza,  which  is  worthy 
of  being  made  a  part  of  our  daily  evening  devotions. 
We,  most  of  us,  have  the  words  written  upon  our  minds, 
but  we  will  not  object  to  having  them  appear  on  the 
printed  page. 

ABIDE  WITH  ME 

Abide  with  me!  fast  falls  the  eventide; 
The  darkness  deepens;  Lord,  with  me  abide! 
When  other  helpers  fail  and  comforts  flee, 
Help  of  the  helpless,  0  abide  with  me! 

Swift  to  its  close  ebbs  out  life's  little  day; 
Earth's  joys  grow  dim,  its  glories  pass  away; 
Change  and  decay  in  all  around  I  see; 
O  Thou  who  changest  not,  abide  v.ith  me! 

Not  a  brief  glance  I  beg,  a  passing  word, 
But  as  Thou  dwell'st  with  Thy  disciples,  Lord, 
Familiar,  condescending,  patient,  free, 
Come,  not  to  sojourn,  but  abide  with  me. 


EVENING  HYMNS  167 


Come  not  in  terrors  as  the  King  of  kings, 

But  kind  and  good,  with  heahng  in  Thy  wings; 

Tears  for  all  woes,  a  heart  for  every  plea; 

0  Friend  of  sinners,  thus  abide  with  me! 

Thou  on  my  head  in  early  youth  didst  smile, 
And,  though  rebellious  and  perverse  meanwhile, 
Thou  hast  not  left  me,  oft  as  I  left  Thee; 
On  to  the  close,  O  Lord,  abide  with  me! 

1  need  Thy  presence  every  passing  hour; 

What  but  Thy  grace  can  foil  the  tempter's  powxr? 
Who,  Hke  Thyself,  my  guide  and  stay  can  be? 
Through  cloud  and  sunshine,  0  abide  with  me! 

I  fear  no  foe,  with  Thee  at  hand  to  bless; 
Ills  have  no  weight,  and  tears  no  bitterness. 
Where  is  death's  sting?   where,  grave,  thy  victory? 
I  triumph  still,  if  Thou  abide  with  me! 

Hold  Thou  Thy  cross  before  my  closing  eyes. 
Shine  through  the  gloom,  and  point  me  to  the  skies; 
Heaven's  morning  breaks,  and  earth's  vain  shadow's  flee; 
In  life,  in  death,  0  Lord,  abide  with  me! 

There  is  another  evening  hymn  which  has  been  pro- 
nounced one  of  the  best  evening  hymns  in  the  English 
language,  which  owes  its  origin  indirectly  to  the  somewhat 
savage  Christianity  of  Abyssinia.  We  refer  to  the  hymn, 
"Saviour,  Breathe  an  Evening  Blessing." 

The  author  of  this  hymn,  Dr.  James  Edmeston,  it  is 
said,  was  deeply  impressed  by  the  reading  of  an  account 
of  a  traveler,  who  told,  in  connection  with  a  visit  to  Abys- 
sinia, of  how  at  night  the  Abyssinians  always  sang  their 
short  evening  hymn,  "Jesus  Mahaxaroo."  The  meaning 
is  "Jesus  Forgives  Us."  This  sentiment,  the  traveler 
said,  stole  through  the  camp,  and  in  the  spell  of  this 


1 68  FAVORITE  HYMNS 

thought  they  would  retire  to  sleep.  Thinking  over  this 
narrative,  he  conceived  and  wrote  the  hymn  which  so  many 
English-speaking  Christians  today  love  and  sing.  We 
close  this  study  with  the  words  as  a  prayer,  and  in  the  hope 
that  we  have  in  glimpsing  these  wonderful  hymns  of  even- 
ing kindled  in  our  hearts  a  keener  desire  for  evening  wor- 
ship. 

''Saviour,  breathe  an  evening  blessing, 
Ere  repose  our  spirits  seal; 
Sin  and  want  we  come  confessing; 
Thou  canst  save,  and  Thou  canst  heal. 

"Though  destruction  walk  around  us, 
Though  the  arrow  past  us  fly, 
Angel- guards  from  Thee  surround  us; 
We  are  safe  if  Thou  art  nigh. 

"Though  tKe  night  be  dark  and  dreary, 
Darkness  cannot  hide  from  Thee; 
Thou  art  He  who,  never  weary, 
Watchest  where  Thy  people  be. 

"Should  swift  death  this  night  o'ertake  us, 
And  our  couch  become  our  tomb, 
May  the  morn  in  heaven  awake  us, 
Clad  in  bright  and  deathless  bloom." 


A  HYMN  OF  PETITION  AND  A  HYMN  OF  TRUST 


"j^^  HE  life  story  of  a  writer,  his  personal  experiences 

^■z      and    the   circumstances   under   which   he   "^Tote 

^§88     "^ill  often  give  new  meaning  to  a  hymn.     The 

circumstances  under  which  a  hymn  was  written 

particularly,  will  often  materially  increase  our  appreciation 

of  it.     In  fact,  in  the  case  of  many  hymns,  the  story  of 

their  origin  is  essential  to  the  correct  interpretation  of 

them. 

That  beautiful  penitential  hymn  by  Joachim  Neander 
is  an  illustration  of  the  advantage  of  knowiag  the  life  story 
of  the  writer.  We  quote  the  hymn  ^\dth  its  German  title 
and  in  the  excellent  English  translation  of  Miss  Winkworth 
which  is  the  translation  most  generally  used  and  best 
known  by  us. 

SIEH  HIER   BIX   ICH,    EHRENKOENIG 

Here  behold  me,  as  I  cast  me 

'Neath  Thy  throne,  O  glorious  King! 

Sorrows  thronging,  childlike  longing, 
Son  of  man,  to  Thee  I  bring. 
Let  me  find  Thee! 

Me,  a  poor  and  worthless  thing. 

Look  upon  me,  Lord,  I  pray  Thee, 

Let  Thy  Spirit  dwell  in  mine; 
Thou  hast  sought  me,  Thou  hast  brought  me, 
Only  Thee  to  know  I  pine. 
Let  me  find  Thee! 
Take  my  heart,  and  own  me  Thine! 

169 


lyo  FAVORITE  HYMNS 

Naught  I  ask  for,  naught  I  strive  for, 
But  Thy  grace  so  rich  and  free; 

That  Thou  givest  whom  Thou  lovest, 
And  who  truly  cleave  to  Thee. 
Let  me  find  Thee! 

He  hath  all  things  who  hath  Thee. 


Earthly  treasure,  mirth  and  pleasure, 
Glorious  name,  or  golden  hoard, 

Are  but  weary,  void  and  dreary. 
To  the  heart  that  longs  for  God. 
Let  me  find  Thee! 

I  am  Thine,  0  mighty  Lord! 


This  was  probably  the  last  hymn  from  the  pen  of  the 
writer,  as  it  bears  the  date  1679  A.  D.,  which  is  the  year 
preceding  his  death. 

Joachim  Neander  was  one  of  the  earliest  and  one  of  the 
best  hymn  writers  of  the  "Reformed  Church."  As  a 
student  at  Bremen  he  was  unusually  wild  and  reckless. 
As  an  illustration  of  his  spirit  it  is  told  that  on  one  occasion 
he  and  several  companions  went  into  St.  Martin's  Church 
of  Bremen  with  the  avowed  purpose  of  making  jest  of  the 
services,  but  the  sermon  so  affected  him  that  he  became 
conscience  stricken  and  in  private  visited  the  preacher. 
The  result  was  that  he  came  more  and  more  into  communi- 
cation with  the  pastor,  whose  influence  led  him  to  be  more 
circumspect  in  his  mode  of  life. 

He  continued  to  love  sport,  and  was  an  ardent  hunter. 
On  one  occasion  he  was  hunting  in  a  forest,  lost  his  way  and 
suddenly  found  himself  in  dense  darkness  in  a  most 
dangerous  position,  where  a  single  misstep  meant  his 
plunging  to  death  over  a  great  precipice.  A  feeling  of 
horror  came  over  him.     For  a  few  moments  he  could  not 


A  HYMN  OF  PETITION  AND  A  HYMN  OF  TRUST    171 

move.  In  his  extremity  he  prayed  earnestly  to  God  for 
help.  According  to  his  own  story  his  courage  returned. 
He  felt  as  though  a  hand  were  leading  him.  Following  the 
path  thus  indicated  he  reached  his  home  in  safety.  In 
his  prayer  at  the  edge  of  the  precipice  he  had  vowed  if  he 
reached  home  in  safety  henceforth  to  devote  himself 
entirely  to  the  service  of  God.  From  that  day  he  kept  that 
vow. 

Neander  became  very  earnest  and  conscientious.  He 
met  and  became  intimate  with  Spener,  the  Lutheran 
pietist  at  Frankfurt,  and  while  a  teacher  in  the  Reformed 
Grammer  School  at  Diisseldorf,  he  was  wont  to  hold 
prayer  meetings  on  his  own  account.  He  would  also 
absent  himself  from  the  communion,  because  as  he  said 
he  could  not  conscientiously  commune  along  with  the 
unconverted.  His  attitude  in  these  respects,  especially 
as  he  advised  others  to  do  as  he  did,  resulted  in  his  sus- 
pension as  a  teacher.  He  was  forbidden  to  preach  and 
banished  from  the  towTi.  His  pupils  w^ould  have  fought 
for  him,  but  he  would  not  permit  them  to  do  so.  There  is 
a  story  current  that  he  went  to  a  deep  glen  near  Mettmann, 
on  the  Rhine,  where  he  spent  the  period  of  his  banishment, 
which  was  not  very  long,  living  in  a  cavern.  This  cavern  is 
still  kno\\Ti  by  the  name  of  "Neander's  Cave."  We  are 
told  that  while  in  this  cave  he  wrote  several  hymns. 

A   HYMN   WRITTEN   IN   A   CAVE 

"A  deep  and  holy  awe 
Put  Thou,  my  God,  within  my  inmost  soul, 
While  near  Thy  feet  I  draw; 
And  my  heart  sings  in  me,  and  my  voice  praises  Thee; 
Do  Thou  all  wandering  sense  and  thought  control. 


172  FAVORITE  HYMNS 

"O  God,  the  crystal  light 
Of  Thy  most  stainless  sunshine  here  is  mine; 

It  floods  my  outer  sight; 
Ah,  let  me  well  discern  Thyself  where'er  I  turn, 
And  see  Thy  power  through  all  Thy  creatures  shine. 

''Hark!  how  the  air  is  sweet 
With  music  from  a  thousand  warbKng  throats. 

Which  echo  doth  repeat; 
To  Thee  I  also  sing,  keep  me  beneath  Thy  wing; 
Disdain  not  Thou  to  hst  my  harsher  notes. 

"Ah,  Lord,  the  universe 
Is  bright  and  laughing,  full  of  pomp  and  mirth; 

Each  summer  doth  rehearse 
A  tale  forever  new  of  wonders  Thou  canst  do 
In  sunny  skies  and  on  the  fruitful  earth. 

"Thee  all  the  mountains  praise; 
The  rocks  and  glens  are  full  of  song  to  Thee! 

They  bid  me  join  my  lays, 
And  laud  the  mighty  Rock,  who,  safe  from  every  shock, 
Beneath  Thy  shadow  here  doth  shelter  me." 

Intensely  personal,  the  imagery  is  beautiful  and  gives 
a  glimpse  into  the  life  of  the  man  who  has  written  many 
hymns  which  speedily  were  received  into  both  Lutheran 
and  Reformed  hymn  books.  Many  of  them  lived  and 
are  still  in  general  use. 

If  now  we  will  re-read  his  ^^Sieh  bin  ich,  Ehrenkdnig,^* 
and  recall  that  it  was  written  at  the  evening  of  a  life 
begun  in  recklessness  and  with  a  purpose  to  make  jest  of 
religion,  and  which  was  filled  with  earnest  piety  and 
conscientious  confl.ict  we  will  find  a  richness  of  penitence 
and  trust  which  w^ill  make  these  stanzas,  w^henever  in  the 
future  it  is  our  privilege  to  sing  them,  most  helpful  and 
devoutly  impressive. 

There  are  few  hymns  that  are  better  known  or  more 


A  HYMN  OF  PETITION  AND  A  HYMN  OF  TRUST    173 

widely  used  than  the  hymn,  "My  Faith  Looks  Up  to 
Thee."  It  was  composed  in  1830  by  the  Rev.  Ray 
Palmer,  D.  D.,  a  Congregational  clergyman.  The  words 
in  themselves  are  so  beautiful  that  we  cannot  help  loving 
the  hymn,  but  the  writer's  own  description  of  its  composi- 
tion will  certainly  increase  our  appreciation  of  the  deep 
personal  trust  which  is  embodied  in  its  lines. 

Dr.  Palmer  says  that  in  composing  this  hymn  he  had 
not  the  slightest  idea  that  he  was  writing  for  any  eye  but 
his  own.  He  was  simply  expressing  his  own  personal 
experience.  He  says  of  the  composition:  "I  gave  form  to 
what  I  felt  by  writing,  with  little  effort,  the  stanzas. 
I  recollect  I  wrote  them  with  very  tender  emotion,  and 
ended  the  last  line  w^th  tears."  After  writing  the  stanzas 
he  slipped  the  paper  into  a  vest  pocket,  where  it  remained 
practically  forgotten. 

We  might  also  say,  led  by  the  divine  Spirit,  hov/ever, 
that  a  short  time  afterward,  his  personal  friend,  Dr. 
Lowell  Mason,  met  him  and  asked  him  if  he  would  not 
give  him  one  of  his  hymns  that  he  might  compose  music 
for  it. 

Dr.  Palmer  at  once  recalled  his  meditation  and  said  he 
had  something  in  his  vest  pocket  that  might  serve  his 
purpose.  He  drew  it  out,  and,  after  some  difficulty, 
straightened  out  the  crumpled  paper  and  deciphered  the 
almost  worn-out  pencil  script. 

Dr.  Mason  was  delighted  mth  the  words,  caught  their 
spirit,  and  very  shortly  afterward  returned  the  words  to 
Dr.  Palmer  set  to  the  tune  ''Olivet,"  the  tune  which  has 
been  used  with  it  ever  since.  The  musician  shortly  after- 
ward, in  meeting  the  author  of  the  words,  said  to  him, 
"Dr.  Palmer,  you  may  live  many  years,  and  do  many  good 
things,  but  I  think  you  will  be  best  kno\\Ti  to  posterity 


174  FAVORITE  HYMNS 

as  the  author  of  'My  Faith  Looks  Up  to  Thee.'  "  This 
prophecy  is  today  a  fact. 

These  words,  with  the  music  which  has  helped  materially 
to  endear  the  hymn  to  devout  worshipers,  seem  almost 
to  have  been  an  accident.  A  Doctor  of  Music  and  a 
Doctor  of  Theology  meeting  casually  in  a  busy  thorough- 
fare of  commerce  for  a  very  brief  interview,  scarcely  more 
than  enough  for  a  polite  salutation  in  passing  as  friends, 
and  the  consequence  is  the  publication  of  a  Christian  hymn 
which  is  found  in  nearly  every  English  hymn  book  pub- 
lished, and  is  today  republished  in  a  number  of  other 
languages. 

The  words  and  the  tune  belong  together.  The  fact 
is  only  an  illustration  of  the  fact  that  in  all  cases  we  should 
take  special  care  to  associate  the  tune  and  words  and  never 
for  the  sake  of  variety  attempt  to  use  a  strange  tune  with 
words  that  are  in  the  mind  and  hearts  of  worshipers  in- 
separably connected  with  their  own  melody. 

RAY  palmer's  hymn  OF  TRUST 

My  faith  looks  up  to  Thee, 
Thou  Lamb  of  Calvary, 

Saviour  divine! 
Now  hear  me  while  I  pray; 
Take  all  my  guilt  away; 
O  let  me  from  this  day 

Be  wholly  Thine. 

May  Thy  rich  grace  impart 
Strength  to  my  fainting  heart, 

My  zeal  inspire; 
As  Thou  hast  died  for  me, 
O  may  my  love  to  Thee 
Pure,  warm,  and  changeless  be, 

A  living  fire. 


A  HYMN  OF  PETITION  AND  A  HYMN  OF  TRUST    175 

While  life's  dark  maze  I  tread, 
And  griefs  around  me  spread, 

Be  Thou  my  Guide; 
Bid  darkness  turn  to  day, 
Wipe  sorrow's  tears  away, 
Nor  let  me  ever  stray 

From  Thee  aside. 

When  ends  life's  transient  dream, 
When  death's  cold  sullen  stream 

Shall  o'er  me  roll; 
Blest  Saviour,  then,  in  love, 
Fear  and  distrust  remove; 
O  bear  me  safe  above, 

A  ransomed  soul. 


LUTHER'S  HYMN  AGAINST  THE  TURK  AND  THE 

POPE 

LORD  KEEP   US   STEADFAST  IN  THY  WORD 


n 


ORD,  keep  us  steadfast  in  Thy  word: 
Curb  those  who  fain  by  craft  or  sword 
Would  wrest  the  kingdom  from  Thy  Son, 
And  set  at  naught  all  He  hath  done. 


Lord  Jesus  Christ,  Thy  power  make  known; 
For  Thou  art  Lord  of  lords  alone: 
Defend  Thy  Christendom,  that  we 
May  evermore  sing  praise  to  Thee. 

O  Comforter,  of  priceless  worth, 
Send  peace  and  unity  on  earth, 
Support  us  in  our  final  strife. 
And  lead  us  out  of  death  to  life. 

This  hymn,  which  Luther  probably  wrote  in  1541, 
has  been  called  a  ''Child's  song  against  the  two  arch- 
enemies of  Christ  and  His  holy  Church — the  pope  and 
the  Turk."  Neither  is  named  in  the  hymn  itself,  which 
is  really  a  prayer  in  verse  to  keep  us  through  the  word 
under  the  protection  of  the  Triune  God. 

The  story  of  how  Luther  happened  to  write  this  hymn 
is  very  interesting.  The  knowing  of  it  will  give  a  deeper 
meaning  to  this  short  but  expressive  hymn,  hence  we  give 
it.  History  tells  us  that  in  1541  a  service  of  prayer  against 
the  Turks  was  held  in  Wittenberg.  For  this  service 
Luther  prepared  what,  in  ecclesiastical  language,  is  called 

176 


LUTHER'S  m'MN  AGAINST  THE  TURK  AND  POPE     177 

the  ''Office,"  which  is  the  order  of  the  worship.  Most 
of  the  music  which  was  prepared  was  designed  for  the  boys 
of  the  choir,  which  is  suggestive  of  the  fact  that  boy 
choirs  were  not  unknown  in  Luther's  day.  This  ser\'ice 
was  printed  in  a  large  sheet  form  in  1542.  It  included  the 
words  of  this  hymn.  It  was  also  pubUshed  in  low  German 
at  Magdeburg  in  the  same  year.  It  found  its  way  into 
a  book  known  as  Klug's  Ceistliche  Lieder,  which  was  pub- 
Hshed  in  1543-44.  Here  it  was  given  the  title,  "A  Hymn 
for  the  Children  to  Sing  Against  the  Two  Arch-enemies  of 
Christ  and  His  Holy  Chu.ch — the  Pope  and  the  Turks." 

In  view  of  the  later  history  the  reference  to  the  Turk  in 
this  connection  is  interesting  and  seems  almost  prophetic. 
The  Turk,  through  his  persecutions  and  massacres  of 
Christians,  has  earned  the  unenviable  reputation  of  being 
an  arch-enemy  of  the  worst  t^-pe.  The  history  of  the 
papacy  warrants  the  prayer  to  be  protected  from  this 
enemy  of  evangelical  truth  and  freedom. 

It  is  very  interesting  to  note  the  fact  that  it  early 
came  into  use  in  England.  It  was  introduced  in  a  trans- 
lation by  R.  S.  Wisdome.  It  was  pubUshed  in  1560.  It 
came  into  favor  and  appeared  in  later  editions  and  in 
other  collections  of  h\Tnns. 

Warton  in  his  "History  of  English  Poetry"  erroneously 
gives  Wisdome,  the  translator,  the  credit  of  being  the 
author  and  credits  him  \^ith  this  hymn  as  the  most  mem- 
orable of  his  work.  He,  however,  says  that  Wisdome 
apparently  had  magnified  the  danger  which  threatened 
from  popery  and  Mohammedanism,  and  questions  whether 
they  are  "equally  dangerous  and  also  whether  they  are 
the  sole  enemies  of  our  religion."  He  concludes  by  saying, 
"Happily  we  have  hitherto  survived  these  two  formidable 
evils." 


178  FAVORITE  HYMNS 

But  Luther,  the  real  author,  had  more  opportunity  to 
know  both  the  Turk  and  the  pope.  They  become  to  us 
in  this  hymn  only  the  historic  background  of  what  is  a 
prayer  of  the  highest  order  to  insure  the  protection  of 
Christian  people  from  all  enemies.  In  it  the  word  is  our 
defence,  God  is  our  protector,  Jesus  Himself  is  our  defence, 
and  the  Comforter  our  support  in  every  strife  until  eternal 
victory  is  ours. 

Luther  in  his  "Table  Talk"  comments  on  the  conditions 
which  occasioned  the  writing  of  this  hymn.  He  says: 
"Antichrist  is  the  pope  and  the  Turk  together;  a  beast 
full  of  life  must  have  a  body  and  a  soul;  the  spirit  or  soul 
of  antichrist  is  the  pope,  his  flesh  or  body  the  Turk.  The 
latter  wastes  and  assails  and  persecutes  God's  Church 
corporally;  the  former  spiritually  and  corporally  too,  with 
hanging,  burning,  murdering,  etc.  But,  as  in  the  apostles' 
time,  the  Church  had  the  victory  over  the  Jews  and 
Romans,  so  now  will  she  keep  the  field  firm  and  solid 
against  the  hypocrisy  and  idolatry  of  the  pope  and  the 
tyranny  and  devastation  of  the  Turk  and  her  other 
enemies." 

The  origin  and  the  content  of  this  hymn  emphasize 
its  meaning  and  value.  Rome  boasts  that  she  never 
changes;  the  Turk  has  not  improved,  new  and  diverse 
enemies  have  risen  round  about  us,  so  that  there  are 
numerous  occasions  when  sincere  Christians,  realizing 
their  environment,  can  enter  with  appreciation  into  the 
singing  of  this  old  Luther  hymn,  recognizing  that  though 
some  conditions  vary,  the  real  dangers  are  the  same,  and 
the  need  of  every  influence  and  protection  and  guidance  of 
the  Triune  God  prayed  for  in  this  remarkable  Luther 
hymn  is  needed  today  and  every  day  that  the  Christian 
lives. 


LUTHER'S  HYMN  AGAINST  THE  TURK  AND  POPE     179 

This  hymn  is  found  in  all  good  Lutheran  hymn  books; 
it  is  included  in  the  new  ''Common  Service  Book  with 
Hymnal"  for  all  English-speaking  Lutherans;  it  is  a  uni- 
versal favorite  in  German  churches.  Written  primarily 
for  the  children  to  sing,  it  has  become  a  general  favorite  of 
devout,  believing  Christians  who  find  it  a  most  expressive 
prayer,  breathing  their  innermost  feelings  as  to  the  neces- 
sity of  the  restraints  which  only  God  can  throw  around  the 
enemies  of  truth  and  the  protection  which  only  God  can 
give  to  all  Christians.  It  is,  therefore,  a  prayer  for  con- 
tinuance in  the  word  as  a  safe  tower  of  defence. 

The  favor  in  w^hich  this  hymn  is  held  is  evidenced  by  the 
fact  that  there  are  quite  a  number  of  translations.  One 
authority  refers  to  fourteen  different  English  translations. 
That  of  Miss  Winkworth,  which  we  have  given,  is  the 
favorite  and  is  the  one  generally  used  in  English  books  of 
worship.  This  hymn  has  also  found  its  way  into  the 
other  languages  in  which  Luther's  faith  is  preached.  All 
young  Lutherans  know  that  these  are  numerous.  Our 
singing  of  this  great  Luther  hymn  in  the  future  will  be  with 
a  deeper  appreciation  and  a  better  understanding. 


THE  BATTLE-HYMN  OF  PROTESTANTISM 

A  MIGHTY  FORTRESS   IS   OUR  GOD 


MIGHTY  Fortress  is  our  God, 
A  trusty  Shield  and  Weapon; 
He  helps  us  free  from  every  need 
That  hath  us  now  o'ertaken. 
The  old  bitter  foe 
Means  us  deadly  woe: 
Deep  guile  and  great  might 
Are  his  dread  arms  in  fight, 
On  earth  is  not  his  equal. 

With  might  of  ours  can  naught  be  done, 

Soon  were  our  loss  effected; 
But  for  us  fights  the  Vahant  One, 
Whom  God  Himself  elected. 
Ask  ye,  Who  is  this? 
Jesus  Christ  it  is. 
Of  Sabaoth  Lord, 
And  there's  none  other  God, 
He  holds  the  field  forever. 


Though  devils  all  the  world  should  fill, 

All  watching  to  devour  us, 

We  tremble  not,  we  fear  no  ill. 

They  cannot  overpower  us. 

This  world's  prince  may  still 
Scowl  fierce  as  he  will, 
He  can  harm  us  none. 
He's  judged,  the  deed  is  done, 
One  Httle  word  o'erthrows  him. 
i8o 


THE  BATTLE-HYMN  OF  PROTESTANTISM         i8l 

The  Word  they  still  shall  let  remain 

And  not  a  thank  have  for  it, 
He's  by  our  side  upon  the  plain, 
With  His  good  gifts  and  Spirit. 
Take  they  then  our  life, 
Goods,  fame,  child  and  wife; 
When  their  worst  is  done, 
They  yet  have  nothing  won, 
The  Kingdom  ours  remaineth. 


As  in  the  great  drama  of  the  Reformation  one  colossal 
figure  stands  prominently  forth,  so  in  the  rich  storehouse 
of  Lutheran  hymnology  there  is  one  great  hymn  which 
stands  out  as  the  greatest  of  them  all,  namely,  Luther's 
Battle  Hymn — '*A  mighty  Fortress  is  our  God." 

Koestlin,  the  historian,  has  well  written,  "This  hymn 
is  Luther  in  song.  It  is  pitched  in  the  very  key  of  the  man. 
Rugged  and  majestic,  trustful  in  God  and  confident,  it 
was  the  defiant  trumpet  blast  of  the  Reformation,  speaking 
out  to  the  powers  of  the  earth  and  under  the  earth  an  all- 
conquering  conviction  of  divine  vocation  and  empower- 
ment. The  world  has  many  sacred  songs  of  exquisite 
tenderness  and  unalterable  trust,  but  this  one  of  Luther's 
is  matchless  in  its  warlike  tone,  its  rugged  strength  and  its 
inspiring  ring." 

Probably  the  prevalent  impression  that  Luther  wrote 
this  hymn  on  his  way  to  Worms  and  chanted  it  as  he  entered 
the  city  is  due  to  the  parallel  in  the  third  stanza  to  his  fa- 
mous saying  on  the  eve  of  the  Diet  of  Worms,  *T'll  go, 
though  there  are  as  many  devils  in  the  city  as  there  are 
tiles  on  the  roofs  of  the  houses." 

The  time  of  its  composition,  according  to  the  best 
authorities,  was  just  before  the  Diet  of  Augsburg  in  1529. 
It  probably  was  written  in  his  temporary  refuge,  the  noble 


i82  FAVORITE  HYMNS 

Castle  Coburg.  It  certainly  was  often  sung  there  by  him. 
We  naturally,  therefore,  associate  its  imagery  with  this 
beautiful  castle.  According  to  d'Aubigne,  the  historian, 
it  was  sung  by  the  reformers  not  only  at  the  Diet  itself 
in  Augsburg,  but  also  by  the  people  in  all  the  churches  of 
Saxony.  Thus  we  see  that  this,  the  greatest  of  our  Ref- 
ormation hymns,  was  born  almost  simultaneously  with 
Protestantism's  greatest  distinctive  creed,  the  Augsburg 
Confession.  We  cannot  consistently  subscribe  to  the 
one  without  ardently  loving  and  diligently  using  the 
other. 

The  hymn  was  suggested  by  Psalm  46,  but  it  is  really 
Luther's  psalm,  not  David's.  Only  the  idea  of  the  strong- 
hold is  taken  from  the  Scripture,  the  rest  is  Luther's  own, 
as  Mr.  Stead  says,  "Made  in  Germany."  Luther  loved 
Psalm  46,  and  we  are  told  that  when  in  any  special  trial 
he  often  would  say  to  Melanchthon,  "Come,  Philip,  let 
us  sing  the  forty-sixth  Psalm."  And  how  they  would  sing 
it,  but  according  to  Luther's  own  version. 

It  has  even  been  said  that  Luther  accomplished  as  much 
for  the  Reformation  through  his  battle  hymn  as  he  did 
through  his  translation  of  the  Bible.  While  we  could  not 
set  up  this  claim  as  a  fact,  it  certainly  was  the  "Marseillaise 
of  the  Reformation,  and  has  preserved  to  this  day  a  potent 
spell  over  Germany." 

The  music  of  this  grand  hymn,  like  the  words,  is  Luther's 
own.  A  special  testimony  to  his  work  as  a  composer  ap- 
pears in  a  letter  from  the  composer,  John  Walther,  who  has 
been  credited  with  the  music  of  this  hymn.  Sleidan,  a 
nearly  contemporary  historian,  speaking  especially  of  "Ein 
Feste  Burg,"  says  ''that  Luther  made  for  it  a  tune  singu- 
larly suited  to  the  words  and  adapted  to  stir  the  heart." 
Says  Leonard  Woolsey  Bacon,  "If  ever  there  were  hymn 


MARTIN  LUTHER 


THE  BATTLE-HYMN  OF  PROTESTANTIS^I        183 

and  tune  that  told  their  own  story  of  a  common  and  sim- 
ultaneous origin,  without  need  of  confirmation  by  external 
evidence,  it  is  these." 

The  general  favor  and  wide  use  of  this  hymn  are  evi- 
denced by  the  fact  stated  by  the  late  Dr.  Bernard  Pick, 
a  leading  American  authority  on  the  hymns  of  Luther, 
that  there  are  no  less  than  ninety  distinct  translations 
of  Luther's  Battle  Hymn  into  English,  and  that  the 
hymn  has  been  translated  into  about  fifty  different  lan- 
guages. What  a  Pentecostal  evidence  of  evangelical  faith 
to  hear  each  man  in  his  owtl  of  these  fifty  tongues  unite  as 
the  great  choir  of  the  Church  Triumphant  in  singing  the 
rugged  notes  and  vigorous  words  of  Luther's  Battle  Hymn 
as  their  song  of  victory!  Fitting  words  and  melody  for 
such  a  chorus. 

In  the  formative  days  of  the  Reformation  Luther's 
Battle  Hymn  was  ''sung  in  all  the  churches  of  Saxony, 
and  its  energetic  strains  often  revived  and  inspirited  the 
most  dejected  hearts."  It  was  sung  at  Luther's  funeral. 
The  first  line  is  carved  on  his  tomb  in  the  Castle  Church 
at  Wittenberg. 

Another  incident  illustrative  of  the  influence  of  this 
hymn  in  the  Reformation  days  is  told  in  connection  with 
the  introduction  of  the  evangelical  faith  into  Hanover. 
The  people  there  caught  up  the  hymns  and  sang  them 
with  delight;  they  imbibed  the  spirit  of  the  battle  hymn 
and  thus  paved  the  way  for  the  evangelical  preacher. 

The  Huguenots  of  France  took  great  comfort  out  of 
singing  what  they  were  pleased  to  call  the  Marseillaise  of 
the  Reformation. 

Strange  as  it  may  seem  to  our  readers,  it  was  a  true 
defence  for  the  Moravians  in  connection  with  a  great 
revival  meeting.    David  Nitschman,  who  was  later  the 


1 84  FAVORITE  HYIMNS 

founder  of  old  Bethlehem,  Pa.,  was  holding  a  revival 
service  in  his  house  when  the  police  came  to  disperse 
the  meeting.  As  the  officers  entered  the  congregation 
began  singing  "A  mighty  Fortress."  Many  were  arrested, 
but  nothing  daunted,  Nitschman  escaped  and  with  others 
fled  to  America,  arriving  with  Wesley  at  Savannah, 
Georgia. 

At  the  great  battles  for  Protestantism  at  Leipzig  and 
Liitzen  the  stirring  notes  of  Luther's  great  hymn  rang  out 
over  the  martial  scene  and  gave  inspiration  to  the  thousands 
of  soldiers  who,  like  a  mightly  choir,  made  the  very  arches 
of  heaven  re-echo  with  its  vigorous  strains. 

During  the  Boxer  uprising  in  China  Missionary  Charles 
G.  Lewis  tells  in  his  experiences  how  he  and  his  com- 
pany were  situated  two  thousand  miles  inland  and  seven 
days'  journey  from  their  nearest  Christian  neighbors. 
Attempting  flight,  they  were  forced  to  return  to  their 
station.  Knowing  something  of  the  fate  of  their  fellow- 
missionaries  elsewhere,  in  these  days  of  peril  and  uncer- 
tainty they  found  new  meaning  in  the  words  of  Luther  as 
they  sang  '^A  mighty  Fortress  is  our  God."  Through  the 
singing  of  this  hymn  his  testimony  is  that  their  hearts 
received  fresh  strength  and  courage  and  they  realized,  as 
never  before,  how  the  Lord's  people  in  the  trying  days  of 
the  Reformation  found  in  God  a  ^'mighty  Fortress  from 
every  danger." 

The  missionaries  in  Paoutingfu,  China,  were  all  killed 
during  those  same  Boxer  uprisings.  Later  a  memorial 
service  was  held  on  the  very  spot  where  these  messengers 
of  the  cross  w^ere  martyred.  Officials  of  the  various  govern- 
ments w^hose  missionaries  had  died  there,  together  with 
Chinese  officials,  were  present.  The  outstanding  feature 
of  that  memorial  service  was  the  singing,  led  by  a  German 


THE  BATTLE-HYMN  OF  PROTESTANTISM        185 

military  band,  of  Luther's  famous  hymn  by  the  polyglot 
assembly. 

Independent  of  its  religious  significance,  this  hymn  has 
found  favor  with  the  musical  critics  as  a  suitable  choral  for 
the  use  of  great  gatherings.  As  an  instance,  we  note  the 
fact  that  it  was  the  choice  for  the  grand  chorus  to  sing  in 
one  of  Boston's  greatest  musical  festivals. 

There  is  seldom  a  gathering  of  Lutherans  in  America 
which  does  not,  before  dispersing,  join  in  singing  "Ein 
Feste  B urg . "  At  the  greater  gatherings  it  is  usually  printed 
in  several  languages,  so  that  the  people  may  sing  it  in  the 
tongue  which  is  most  familiar  to  them.  In  Chicago, 
New  York,  Pittsburgh,  MinneapoUs,  Philadelphia,  Buffalo 
we  have  joined  in  the  singing  when*  from  three  to  six 
different  languages  were  used  simultaneously.  It  seems 
to  lift  the  audience  to  its  feet. 

In  speaking  of  one  of  such  occasions  a  distinguished 
WTiter  says:  ''Led  by  an  immense  band,  'A  Mighty  Fortress' 
was  sung  in  seven  different  languages.  It  was  a  perfect 
babel  of  sound,  but  the  effect  was  wonderful.  So  grandly 
was  it  simg,  with  such  matchless  harmony,  unity  and 
solemnity  that  it  stirred  the  vast  audience  to  tears  and  to 
the  utmost  pitch  of  enthusiasm.  To  those  who  were 
present  it  is  Uttle  wonder  that  the  hymn  bore  an  important 
part  in  nerving  the  German  soldiers  to  deeds  of  desperate 
daring  when  sung  on  the  eve  of  battle,  or  that  it  should  be 
used  as  a  great  thanksgiving  psalm  when  the  victory  was 
won." 

Such  is  the  matchless  hymn  which  is  peculiarly  the 
property  of  the  Lutheran  Church  and  w^hich  Lutherans 
gladly  contribute  to  the  whole  Protestant  world  as  the 
stirring  marshal  music,  which,  widely  used,  will  be  mighty 


1 86  FAVORITE  HYMNS 

in  voicing  faith,  in  cultivating  deepest  devotion  and  devel- 
oping greatest  Christian  courage. 

With  Luther,  as  in  trials  he  says  to  Melanchthon,  not 
only  to  all  Lutherans,  but  to  all  who  would  develop  evan- 
gelical faith,  let  us  say,  "Come,  let  us  sing  the  forty-sixth 
psalm."  We  will  sing  it  in  Luther's  words  to  Luther's 
melody.  It  will  prove  an  inspiration  and  make  evan- 
gelical Christians  realize  their  real  Tower  and  Source  of 
strength  and  defence. 


JOHN  NEWTON 


HYMNS  ON  THE  CHURCH 


CHE  Church  as  a  Divine  institution,  the  channel 
through  which  men  are  led  to  and  blessed  by  God, 

g^gS  has  naturally  been  the  theme  which  has  inspired 
the  Church's  singers.  John  Newton  has  fur- 
nished us  one  of  this  type  of  hymns,  a  hymn  which  was 
originally  published  in  the  Olney  Hymns  under  the  title 
of  "Zion,  or  the  City  of  God."  It  was  a  hymn  of  five 
stanzas,  based  on  Isa.  33  :  20,  21.  The  Olney  Hymns 
were  published  in  1779. 


Newton's  hymn  on  the  church  of  christ 

Glorious  things  of  thee  are  spoken, 

Zion,  city  of  our  God; 
He,  whose  word  cannot  be  broken, 

Form'd  thee  for  His  own  abode; 
On  the  Rock  of  Ages  founded, 

What  can  shake  thy  sure  repose? 
With  salvation's  walls  surrounded. 

Thou  may'st  smile  at  all  thy  foes. 


See  the  streams  of  living  waters 

Springing  from  eternal  love. 
Well  supply  thy  sons  and  daughters, 

And  all  fear  of  want  remove. 
Who  can  faint  while  such  a  river 

Ever  flows  their  thirst  to  assuage? 
Grace,  which,  like  the  Lord,  the  Giver, 

Never  fails  from  age  to  age. 
187 


l88  FAVORITE  HYMNS 

Saviour,  if  of  Zion's  city 

I,  through  grace,  a  member  am, 
Let  the  world  deride  or  pity, 

I  will  glory  in  Thy  Name, 
Fading  is  the  wordMng's  pleasure, 

All  his  boasted  pomp  and  show; 
SoHd  joys  and  lasting  treasure 

None  but  Zion's  children  know. 


This  hymn,  which  is  used  in  various  forms  both 
in  England  and  in  this  country,  has  attained  great 
popularity  in  all  English-speaking  countries.  It  ranks 
among  the  first  hymns  in  English  in  every  branch  of  the 
Protestant  Church.  It  is  interesting  to  note  that  a  por- 
tion of  this  hymn  has  been  translated  into  Latin  and  is 
included  in  a  Latin  Hymn  book  w^hich  w^as  published  in 
1871. 

A   FESTIVAL  PROCESSIONAL 

A  hymn  which  has  an  interesting  origin  and  history  is 
the  hymn  usually  called  by  its  first  line,  "The  Church's 
One  Foundation."  It  was  written  by  Samuel  J.  Stone  in 
1866.  The  story  of  its  conception  in  the  mind  of  the 
waiter  is  that  he  was  impressed  by  the  defence  of  the 
Cathohc  Faith  made  by  Bishop  Gray,  of  Capetown, 
against  the  teachings  of  Bishop  Colenso.  This  fact 
gives  it  an  historic  association  which  adds  interest  and 
meaning  to  its  stanzas,  which  in  the  original  number 
ten. 

The  hymn  as  it  appeared  originally  is  an  elaboration  of 
that  portion  of  the  Apostles'  Creed  which  is  indicated  by 
the  title,  'The  Holy  CathoHc  Church:  The  Communion 
of  Saints.  He  is  the  Head  of  the  Body,  the  Church." 
This  title  is  given  to  the  hymn  in  the  author's  collection 


HYMNS  ON  THE  CHURCH  189 

known  as  "Lyra  Fidelium."  These  facts  of  its  credal 
foundation  and  origin  as  an  outburst  of  joy  and  confidence 
over  the  defence  of  the  Church  make  it  a  true  hymn  of  the 
Church,  one  which  is  especially  appropriate  for  us  on 
Church  festivals.  We  give  herewith  those  stanzas  which 
are  most  familiar  and  most  widely  used. 


A   FESTIVAL   HYMN    ON    THE   CHURCH 

The  Church's  one  foundation 

Is  Jesus  Christ  her  Lord; 
She  is  His  new  creation 

By  water  and  the  Word; 
From  heaven  He  came,  and  sought  her 

To  be  His  holy  Bride, 
With  His  own  blood  He  bought  her, 

And  for  her  life  He  died. 


Elect  from  every  nation, 

Yet  one  o'er  all  the  earth, 
Her  charter  of  salvation 

One  Lord,  one  Faith,  one  Birth; 
One  holy  Name  she  blesses. 

Partakes  one  holy  Food, 
And  to  one  Hope  she  presses. 

With  every  grace  endued. 


Though  with  a  scornful  wonder 

Men  see  her  sore  opprest, 
By  schisms  rent  asunder. 

By  heresies  distrest; 
Yet  saints  their  watch  are  keeping, 

Their  cry  goes  up,  "How  long?" 
And  soon  the  night  of  weeping 

Shall  be  the  morn  of  song. 


IQO  FAVORITE  HYMNS 

Mid  toil  and  tribulation, 

And  tumult  of  her  war, 
She  waits  the  consummation 

Of  peace  for  evermore; 
Till  with  the  vision  glorious 

Her  longing  eyes  are  blest, 
And  the  great  Church  victorious 

Shall  be  the  Church  at  rest. 

A  hymn  which  has  found  a  place  among  the  hymns  which 
will  live  and  which  is  known  especially  as  the  author's 
hymn  by  the  title  which  is  often  given  to  it,  "Dr.  D wight's 
Hymn,"  is  that  hymn  from  the  pen  of  Yale's  distinguished 
President  which  breathes  in  rhythmic  poetry  the  spirit 
of  David's  beautiful  "Song  of  Degrees."  The  hymn  is 
usually  sung  to  the  tune  St.  Thomas,  to  which  tune  it  was 
set  by  Aaron  Williams,  who  does  not  claim  authorship  for 
the  music,  which  while  not  credited  to  Handel,  is  generally 
believed  to  be  a  production  of  that  master  musician. 

DR.    DWIGHT's   hymn 

I  love  Thy  Zion,  Lord, 
The  house  of  Thine  abode; 
The  Church  our  blest  Redeemer  saved 
With  His  own  precious  Blood. 

I  love  Thy  Church,  O  God! 
Her  walls  before  Thee  stand, 
Dear  as  the  apple  of  Thine  eye. 
And  graven  on  Thy  hand. 

For  her  my  tears  shall  fall; 
For  her  my  prayers  ascend: 
To  her  my  cares  and  toils  be  given 
Till  toils  and  cares  shall  end. 

Beyond  my  highest  joy 
I  prize  her  heavenly  ways. 
Her  sweet  communion,  solemn  vows, 
Her  hymns  of  love  and  praise. 


HYMNS  ON  THE  CHURCH  191 

Jesus,  Thou  Friend  divine. 
Our  Saviour  and  our  King, 
Thy  hand  from  every  snare  and  foe 
Shall  great  deliverance  bring. 

Sure  as  Thy  truth  shall  last, 
To  Zion  shall  be  given 
The  brightest  glories  earth  can  yield, 
And  brighter  bliss  of  heaven. 

Among  the  seven  hundred  and  sixty-five  hymns  written 
by  Thomas  Kelly  is  one  on  the  safety  of  the  Church  which 
is  worthy  of  a  place  in  any  good  hymn  book.  The  author, 
who  was  a  son  of  an  eminent  Irish  judge,  was  educated 
with  a  view  to  the  law;  but  through  spiritual  conviction 
gave  himself  to  the  work  of  the  ministry.  With  Rowland 
Hill,  because  of  his  earnest  evangelical  preaching,  he  was 
inhibited  by  the  Archbishop  of  Dublin  and  compelled  to 
preach  in  unconsecrated  buildings.  He  eventually  seceded 
from  the  Established  Church  and  erected  a  number  of 
places  of  worship  in  which  he  conducted  worship  and 
preached.  This  insight  into  the  life  of  the  author  will 
materially  increase  our  appreciation  of  his  hymn  in  which 
he  sings  of  the  safety  of  the  Church. 

HYMN   ON  THE   SAFETY  OF  THE  CHURCH 

Zion  stands  with  hills  surrounded; 

Zion  kept  by  power  divine; 
All  her  foes  shall  be  confounded. 

Though  the  world  in  arms  combine. 
Happy  Zion, 

What  a  favored  lot  is  thine! 

Every  human  tie  may  perish; 

Friend  to  friend  unfaithful  prove; 
Mothers  cease  their  own  to  cherish; 

Heaven  and  earth  at  last  remove; 
But  no  changes 

Can  attend  Jehovah's  love. 


192  FAVORITE  HYMNS 

In  the  furnace  God  may  prove  thee, 
Thence  to  bring  thee  forth  more  bright, 

But  can  never  cease  to  love  thee; 
Thou  art  precious  in  His  sight: 

God  is  with  thee, 
God,  thine  everlasting  Light. 


A  hymn  which  emphasizes  the  security  of  the  Church 
and  which  is  growing  in  favor  in  all  portions  of  it 
is  Bishop  A.  Cleveland  Cox's,  "O  Where  are  Kings  and 
Empires  Now."  This  hymn,  which  was.  first  published 
in  ''The  Churchman"  in  1839,  is  a  part  of  Bishop  Cox's 
ballad,  ** Chelsea."  Amid  the  rise  and  fall  of  nations  we 
in  the  light  of  history  see  the  full  significance  of  this  mean- 
ingful hymn. 

HYMN  ON   THE   SECURITY  OF  THE  CHURCH 

O  where  are  kings  and  empires  now, 

Of  old  that  went  and  came? 
But,  Lord,  Thy  Church  is  praying  yet, 

A  thousand  years  the  same. 

We  mark  her  goodly  battlements, 

And  her  foundations  strong; 
We  hear  within  the  solemn  voice 

Of  her  unending  song, 

For  not  hke  kingdoms  of  the  world 

Thy  holy  Church,^0  Lord! 
Though  earthquake  shocks  are  threatening  her, 

And  tempests  are  abroad; 

Unshaken  as  th'  eternal  hills, 

Immovable  she  stands, 
A  mountain  that  shall  fill  the  earth, 

A  house  not  made  with  hands. 


J 


CHRISTIAN  WAR  HYMNS 


OIUT  of  the  heroic  struggles  of  the  Thirty  Years'  War, 
I  which  saved  for  the  world  the  fruit  of  the  sixteenth 
^  century  Reformation,  there  stands  forth  one 
gigantic  son  of  the  Vikings,  the  noble  Gustavus 
Adolphus,  king  of  Sweden.  His  name  is  inseparably 
linked  with  one  of  the  really  great  hymns  of  the  Church — 
a  hymn  which  was  born  in  the  midst  of  the  conflict  and 
is  especially  expressive  of  the  faith  and  heroism  which 
characterizes  all  true  behevers  in  the  midst  of  trials  and 


dangers. 


GUSTAVUS  ADOLPHUS  BATTLE  SONG 


Fear  not,  0  little  flock,  the  foe 
Who  madly  seeks  your  overthrow; 

Dread  not  his  rage  and  power: 
What  though  your  courage  sometimes  faints. 
His  seeming  triumph  o'er  God's  saints 

Lasts  but  a  little  hour. 

Be  of  good  cheer;  your  cause  belongs 
To  Him  who  can  avenge  your  wrongs; 

Leave  it  to  Him,  our  Lord. 
Though  hidden  yet  from  mortal  eyes, 
Salvation  shall  for  you  arise: 

He  girdeth  on  His  sword! 

As  true  as  God's  own  word  is  true, 
Not  earth  nor  hell  ^\ith  all  their  crew 

Against  us  shall  prevail. 
A  jest  and  byword  are  they  grown: 
God  is  with  us;  we  are  His  own; 

Our  victory  cannot  fail. 
193 


194  FAVORITE  HYMNS 

Amen,  Lord  Jesus,  grant  our  prayer! 
Great  Captain,  now  Thine  arm  make  bare; 

Fight  for  us  once  again! 
So  shall  Thy  saints  and  martyrs  raise 
A  mighty  chorus  to  Thy  praise, 

World  without  end.     Amen. 


The  hymn  was  written  to  commemorate  the  victory 
of  the  Protestant  armies  under  Gustavus  Adolphus  on  the 
field  of  Leipzig,  September,  17,  1631.  The  authorship 
is  somewhat  uncertain.  It  is  popularly  ascribed  to  King 
Gustavus  Adolphus  himself.  There  are  good  authorities 
who  say  that  his  chaplain,  Jacob  Fabricius,  was  the  real 
author.  Still  others,  and  with  the  weight  of  evidence  in 
their  favor,  say  that  the  author  was  Johann  Michael 
Altenberg,  a  Lutheran  pastor,  who  was  compelled  to  flee 
from  his  home  during  the  Thirty  Years'  War.  While 
at  Erfurt  he  wrote  this  hymn  to  celebrate  the  victory  of 
the  Swedish  king  and  his  army  over  Roman  Catholic 
forces  at  Leipzig.  Gustavus  Adolphus,  the  Swedish  king 
and  commander,  was  so  taken  with  it  that  he  used  it 
constantly  and  ordered  it  to  be  sung  before  every  battle 
thereafter.  This  accounts  for  the  title  and  the  accredited 
authorship.    He  made  it  his  own. 

The  oldest  form  of  the  hymn  is  published  as  a  pamphlet, 
which  appeared  shortly  after  the  battle  of  Liitzen.  A 
copy  of  this  pamphlet  is  to  be  found  in  the  Royal  Library 
in  Berlin  and  another  in  the  Totvh  Library  in  Hamburg. 

We  are  told  that  on  the  morning  of  November,  16,  1632, 
King  Gustavus  Adolphus'  forces  engaged  Wallenstein's 
army  in  the  decisive  battle  of  Liitzen.  Early  in  the  morn- 
ing the  king  summoned  his  court  preacher,  Fabricius,  and 
directed  him  to  hold  a  service  of  prayer  for  the  whole 
army.     While  a  thick  mist  still  covered  the  field  the  king's 


GUSTAVUS  ADOLPHUS 


CHRISTIAN  WAR  HYMNS  195 

battle  hymn  was  sung.  Gustavus  then  gave  the  watch- 
word for  the  fight — ''God  with  us" — rode  before  the  army 
to  encourage  his  soldiers  and  commanded  that  as  the  troops 
advanced  the  trumpets  should  play  ''Ein  Feste  Burg"  and 
"Es  woll  uns  Gott  gnadig  sein."  The  battle  was  fiercely 
fought,  the  king  falling,  but  victory  came  and  evangelical 
liberty  was  assured  and  sealed  by  the  blood  of  the  martyred 
Swedish  king.  Because  of  the  use  of  this  hymn  on  the 
morning  of  his  death  it  is  often  called  'The  Swan  Song  of 
King  Gustavus  Adolphus." 

The  prayer  which  the  king  uttered  that  morning  has 
been  preserved.  It  was  his  usual  battle  prayer,  and 
embraced  the  following  brief  sentences:  "O  Lord  Jesus 
Christ,  bless  our  armies  and  this  day's  battle,  for  the  glory 
of  Thy  holy  name!  Amen."  Uttering  the  battle  cry, 
"God  with  us!"  he  fought  till  he  fell  from  his  charger 
in  the  front  of  his  valiant  troops,  when  from  the  lips  of  the 
dying  king  came  these  words,  "I  seal  with  my  blood  the 
liberty  and  religion  of  the  German  nation."  It  was  the 
heroic  and  worthy  ending  of  a  martyr,  an  incident  which 
adds  imperishable  interest  to  the  hymn. 

Well  has  Frederick  Saunders  said:  "What  struggles 
of  soul  have  some  of  these  hymns  not  witnessed,  in  what 
strange  and  stirring  scenes  have  they  not  mingled!  How 
has  their  melody  and  sweet  inspiration  brought  solace  to 
sorrow,  and  lent  ecstasy  to  spiritual  joy!  Like  the  words 
of  the  Holy  Book,  they  linger  in  the  memory;  and,  in  the 
hours  of  despondency  and  gloom,  how  often  have  they 
lifted  us  up  from  the  earthliness  of  our  being,  and  also 
imparted  even  to  the  sick  and  dying  wondrous  consola- 
tion." How  we  should  seek  to  know  the  origin  and  enter 
into  the  spirit  of  the  hymns  we  sing ! 

Concerning  Gustavus  Adolphus'  hymn  we  might  add 


196  FAVORITE  HYMNS 

that  it  is  published  in  the  Swedish  hymn  book  of  181 9, 
a  book  in  extensive  use  both  in  Sweden  and  America, 
and  there  ascribed  to  the  king  himself.  In  the  Swedish 
Lutheran  churches  in  this  country  it  is  invariably  sung  at 
Reformation  festivals  and  also  at  Gustavus  Adolphus  Day 
(November  6)  celebrations.  It  is  also  in  very  general 
use  in  all  Lutheran  churches  in  this  country  and  increasing 
in  popularity  and  use  every  year. 

It  was  sung  at  the  dedication  of  the  Gustavus  Adolphus 
Chapel  at  Liitzen  November  6,  1907.  This  chapel  was 
the  gift  of  Conrad  Oscar  Ekman,  of  Sweden,  to  the  city 
of  Liitzen.  It  stands  on  the  spot  which  tradition  points 
out  as  the  place  where  the  great  king  fell  and  where 
*'Schwedenstein"  was  placed.  At  the  dedication  there 
were  present  representatives  of  the  Church  in  Germany, 
Sweden,  Finland  and  America,  officially  speaking  for  the 
followers  of  Luther  and  Gustavus  Adolphus  in  those  lands. 
It  was  a  great  occasion  and  a  high  tribute  to  the  man  who 
fell  there  and  whose  favorite  melody  rang  out  to  honor  the 
man  who  had  found  strengthening  for  his  faith  in  the  rugged 
words  of  the  old  battle  song,  which  had  aided  in  bringing 
to  a  successful  issue  the  terrors  of  the  Thirty  Years'  Wax. 

Whether  German  or  Swede  may  claim  this  hymn  is  a 
question.  They  both  rightly  own  it.  It  is  a  general 
favorite  in  Germany.  Every  Sunday  in  the  home  of  the 
great  German  Lutheran  pietist,  Philip  Jacob  Spener,  this 
hymn  was  sung.  It  is  regularly  used  at  the  meetings  of 
the  Gustavus  Adolphus  Union,  an  association  organized 
for  the  express  purpose  of  helping  Protestant  Churches  in 
Roman  Catholic  countries.  This  would  seem  to  be  an 
eminently  appropriate  use  of  this  hymn  so  closely  asso- 
ciated with  the  Protestant  struggle  and  the  Protestant 
victory. 


I 


I 


CHRISTIAN  WAR  HYMNS  197 

The  hymn  has  been  translated  into  many  languages 
and  is  in  wide  use.  There  are  a  number  of  English  transla- 
tions, the  most  generally  used  of  which  is  the  one  we  have 
given  above  from  the  pen  of  Miss  Wink'worth. 

A  hymn  which  is  a  contrast  to  the  battle  hymn  of  the 
Swedish  king  is  Dr.  Paul  Eber's  hymn,  which  he  composed, 
based  on  the  words  of  King  Jehoshaphat  (2  Chron,  20 :  12). 
There  are  a  number  of  translations,  but  as  is  so  often  the 
case,  the  favorite  one  which  we  give  is  that  from  the  pen  of 
Miss  Wink  worth. 

DR.  PAUL  eber's  HYMN  WHEN  IN  TROUBLE 

When  in  the  hour  of  utmost  need 
We  know  not  where  to  look  for  aid; 
When  days  and  nights  of  anxious  thought 
Nor  help  nor  counsel  yet  have  brought: 

Then  this  our  comfort  is  alone, 
That  we  may  meet  before  Thy  throne, 
And  cry,  O  faithful  God,  to  Thee 
For  rescue  from  our  misery: 

To  Thee  may  raise  our  hearts  and  eyes. 
Repenting  sore  with  bitter  sighs, 
And  seek  Thy  pardon  for  our  sin, 
And  respite  from  our  griefs  within. 

For  Thou  hast  promised  graciously 
To  hear  all  those  who  cry  to  Thee, 
Through  Him  whose  name  alone  is  great, 
Our  Saviour  and  our  Advocate. 

And  thus  we  come,  O  God,  tod,ay. 
And  all  our  woes  l^efore  Thee  lay; 
For  tired,  afflicted,  lo!  we  stand, 
Peril  and  foes  on  every  hand. 


1 98  FAVORITE  HYMNS 

Ah,  hide  not  for  our  sins  Thy  face; 
Absolve  us  through  Thy  boundless  grace; 
Be  with  us  in  our  anguish  still, 
Free  us  at  last  from  every  ill. 


That  so  with  all  our  hearts  may  we 
Once  more  with  joy  give  thanks  to  Thee, 
And  walk  obedient  to  Thy  word, 
And  now  and  ever  praise  the  Lord. 


This  hymn  was  founded  on  an  earlier  hymn  in  Latin  by 
Joachim  Camerarius.  This  Latin  original  was  the  source 
of  special  comfort  to  Melanchthon  and  probably  also  Dr. 
Eber  in  1546.  It  is  stated  that  on  Ascension  Day,  1547, 
after  the  battle  of  Miihlberg,  the  Wittenbergers  having 
received  a  message  from  the  captive  elector  to  deliver 
their  city  to  the  emperor,  Charles  V,  they  assembled  for 
prayer  in  church.  Bugenhagen's  prayer  on  this  occasion 
which  has  been  preserved  greatly  resembles  Eber's  hymn, 
which,  however,  probably  was  not  written  until  some  time 
later.  It  has  been  called  a  "cry  from  the  depths,"  though 
not  in  despair,  but  in  trustful  confidence  in  God.  It  is 
one  of  the  finest  specimens  of  the  hymns  of  the  Reformation 
period  which  have  come  down  to  us. 

A  writer  of  that  period  tells  us  how  the  singing  of  this 
hymn  and  the  prayers  of  Martin  Rinkart,  archdeacon  of 
Eulenberg,  near  Leipzig,  prevailed  to  move  the  heart  of 
the  Swedish  lieutenant-colonel,  who,  on  February  21,  1635, 
had  demanded  an  enormous  ransom,  but  eventually  ac- 
cepted a  few  florins.  In  commemoration  of  a  similar 
deliverance  from  another  army  in  1642  the  hymn  was  sung 
at  the  end  of  the  Sunday  afternoon  service  at  Pegau,  near 
Leipzig.     Similar  instances  in  the  period  following  the 


CHRISTIAN  WAR  HYMNS  199 

Reformation  were  frequent.  Thus  we  see  the  historic 
significance  as  well  as  the  peculiar  appropriateness  of  this 
hymn  as  a  petition  of  believers  in  the  time  of  trouble. 

Under  the  imagery  of  war  probably  the  best  known  and 
most  popular  marching  hymn  of  the  Christian  Church 
has  come  to  us  from  the  pen  of  the  Rev.  S.  Baring- Gould. 
While  not  strictly  a  war  hymn,  it  is  given  here  as  suggestive 
of  the  good  warfare  which  the  Christian  soldier  should 
wage.  Of  this  hymn  it  has  been  said  that  it  is  one  of  the 
few  good  hymns  which  have  proven  successful  which  have 
been  written  to  order,  so  to  speak.  It  was  written  in 
1865  for  a  special  occasion.  On  Whitmonday  the  Sunday- 
school  children  in  the  village  where  the  author  resided 
were  to  march  to  an  adjoining  village.  It  was  desired 
that  the  children  should  sing  while  marching,  but,  not  being 
able  to  find  anything  to  suit  him,  the  minister  sat  up  at 
night,  while  others  slept,  and  composed  this  hymn.  Thirty 
years  after  writing  it  he  said,  'Tt  was  written  in  great  haste, 
and  I  am  afraid  some  of  the  rhymes  are  faulty.  Certainly 
nothing  has  surprised  me  more  than  its  popularity." 
The  splendid  tune  which  Sir  Arthur  Seymour  Sullivan 
has  given  to  this  hymn  will  alone  immortalize  his 
name. 

With  so  much  evil  and  world  conflict  about  us  the  Chris- 
tian Church,  which  at  times  may  weary  and  become  faint- 
hearted, needs  to  catch  the  spirit  of  this  optimistic  battle 
hymn  of  the  Christian  conflict.  During  a  hard  fought 
battle  between  the  French  and  the  Austrians,  an  officer, 
rushing  up  to  the  French  commander,  exclaimed,  ''The 
battle  is  lost!"  The  general  quietly  replied,  "One  battle 
is  lost,  but  there  is  time  to  win  another."  The  general's 
optimism  brought  victory.     So  it  is  in  the  Church,  great 


200  FAVORITE  HYMNS 

battles  are  to  be  fought  in  this  twentieth  century.  If  we 
catch  the  spirit  which  led  Baring-Gould  to  declare  "the 
Church  of  Jesus  constant  will  remain"  we  will  surely  take 
up  his  battle  cry,  ''On,  then,  Christian  soldiers,  on  to  vic- 
tory!" 

Whatever  we  may  think  of  cruel  war,  the  warfare  of 
God's  people  for  righteousness  and  for  the  triumph  of  the 
cross  we  all  approve.  In  this  spirit  we  take  as  our  battle 
song  the  widely  used  and  ever-popular  hymn  aptly  called 


THE  MARCHING  HYMN  OF  THE  CHXJRCH 

Onward,  Christian  soldiers, 

Marching  as  to  war. 
With  the  Cross  of  Jesus 

Going  on  before. 
Christ,  the  Royal  Master, 

Leads  against  the  foe: 
Forward  into  battle. 

See  His  banners  go. 


Refrain 

Onward,  Christian  soldiers 
Marching  as  to  war, 

With  the  Cross  of  Jesus 
Going  on  before. 


At  the  sign  of  triumph, 

Satan's  armies  flee: 
On,  then.  Christian  soldiers, 

On  to  victory. 
Hell's  foundations  quiver, 

At  the  shout  of  praise; 
Brothers,  lift  your  voices. 

Loud  your  anthems  raise. 


CHRISTIAN  WAR  HYMNS  20i 

Like  a  mighty  army, 

Moves  the  Church  of  God: 
Brothers,  we  are  treading 

Where  the  saints  have  trod. 
We  are  not  divided, 

All  one  body  we, 
One  in  hope  and  doctrine, 

One  in  charity. 

What  our  Lord  established 

That  we  hold  for  true: 
What  the  saints  believed 

That  believe  we  too. 
Long  as  earth  endureth 

Men  that  faith  will  hold — 
Kingdoms,  nations,  empires, 

In  destruction  rolled. 

Crowns  and  thrones  may  perish, 

Kingdoms  rise  and  wane. 
But  the  Church  of  Jesus 

Constant  will  remain. 
Gates  of  hell  can  never 

'Gainst  that  Church  prevail: 
We  have  Christ's  own  promise. 

And  that  cannot  fail. 

Onward,  then,  ye  faithful, 

Join  our  happy  throng. 
Blend  with  ours  your  voices, 

In  the  triumph-song. 
Glory,  laud,  and  honor, 

Unto  Christ  the  King: 
This,  through  countless  ages, 

Men  and  angels  sing. 


HYMNS  OF  THANKSGIVINKj 


NOW   THANK  WE  ALL  OUR  GOD 


DOW  thank  we  all  our  God, 
With  hearts  and  hands  and  voices, 
r||||ii     Who  wondrous  things  hath  done, 
"sUflKl        In  whom  His  earth  rejoices; 
Who  from  our  mothers'  arms 
Hath  blessed  us  on  our  way 
With  countless  gifts  of  love, 
And  still  is  ours  today. 


"Oh,  may  this  bounteous  God 

Through  all  our  hfe  be  near  us, 
With  ever  joyful  hearts 

And  blessed  peace  to  cheer  us; 
And  keep  us  in  His  grace, 

And  guide  us  when  perplexed, 
And  free  us  from  all  ills. 

In  this  world  and  the  next. 

"All  praise  and  thanks  to  God 

The  Father  now  be  given, 
The  Son,  and  Him  who  reigns 

With  them  in  highest  heaven; 
The  One  eternal  God, 

Whom  earth  and  heaven  adore; 
For  thus  it  was,  is  now, 

And  shall  be  evermore!" 


Praise  and  thanksgiving  enter  largely  into  the  Christian's 
conception  of  worship.  A  hymn  of  thanksgiving  for  this 
reason  is  at  once  accorded  a  favorable  hearing. 

The  Harvest  Festival  is  an  ancient  custom  which  has 


202 


HYMNS  OF  THANKSGIVING  203 

come  down  from  the  Old  Testament  Church.  It  is  held 
m  high  favor  and  very  generally  observed.  Our  national 
Thanksgiving  is  the  product  of  our  American  national  life. 
Obedient  to  the  command  of  Christ  to  "Render  unto 
Caesar  the  things  that  are  Caesar's,"  the  true  Christian  is 
necessarily  a  good  citizen.  He,  therefore,  finds  both  re- 
hgious  and  patriotic  reasons  for  the  expression  of  thanks 
in  respect  to  his  spiritual  and  temporal  blessings. 

The  note  of  praise  and  of  thanksgiving  sounds  in  harmony 
with  the  proper  expression  of  a  true  evangelical  faith. 
Hence  the  occasion  is  frequent  when  an  evangelical  Chris- 
tian lifts  heart  and  voice  in  thanksgi\'ing  to  God.  Logic- 
ally, therefore,  Martin  Rinkart's  hymn,  ''Nun  danket 
alle  Gott,"  is  a  hymn  which  is  widely  known  and  a 
general  favorite.  Perhaps  this  hymn  is  simg  even  more 
frequently  than  is  Luther's  famous  "Battle  H\Tnn."  It 
finds  an  honored  place  in  the  service  on  all  festival  occa- 
sions. Any  Lutheran  gathering  can  be  safely  asked  to 
sing  this  h}Tnn,  for  if  they  are  without  books  the  words 
and  melody  are  both  printed  on   every  mind. 

Luther's  great  "Battle  H}Tnn"  is  a  hymn  of  combat  and 
of  resolution  to  battle  to  the  end.  It  inspires  faith  and 
courage,  elements  greatly  needed  in  the  Christian  life  of 
this  day.  This  hymn  of  Martin  Rinkart  is  rather  an  out- 
burst of  gratitude.  The  note  of  thanksgi\dng  is  so  decided 
as  to  give  confidence,  and,  through  a  realization  of  past 
achievements  and  blessings  under  God  to  undertake  new 
efforts  and  engage  in  further  conflicts  with  increased  faith 
and  renewed  courage.  Rightly  understood,  it  is  really  a 
fruitage  of  and  a  supplement  to  Luther's  famous  hymn. 
How  often  we  hear  them  in  the  same  service ! 

This  hymn,  which  has  been  popularly  called  the  "Ger- 
man Te  Deum,"  is  a  metrical  version  or  paraphrase  of  two 


204  FAVORITE  HYMNS 

verses  of  Sirach  (Sirach  50  :  24,  25),  and  of  the  "Gloria 
Patri"  in  the  third  verse.  It  is  generally  believed  to  have 
been  written  in  the  year  1644  in  the  prospect  of  the  re- 
establishment  of  peace.  The  regimental  chaplains,  when 
holding  special  services  of  thanksgiving  for  the  conclusion 
of  peace,  were  instructed  to  use  this  passage  as  their  text. 
This,  by  some,  is  supposed  to  have  been  the  suggestion 
to  Rinkart  of  the  writing  of  the  hymn.  A  more  recent 
claim  is  made  by  an  eminent  hymnologist  that  the 
hymn  was  written  in  1630  as  a  hymn  or  prayer  of 
thanksgiving  after  meals,  and  especially  intended  for 
Rinkart's  children.  The  original  manuscript  of  the 
hymn  is  still  in  the  possession  of  the  descendants  of 
the  author.  Since  1648  it  has  been  used  as  the  German 
Te  Deum  at  all  national  festivals  of  war  and  peace.  It 
was  sung  by  the  army  of  Frederick  the  Great  after  the 
Prussians  had  won  the  battle  of  Leuthen.  During  the 
Franco-Prussian  War  it  was  sung  constantly,  and  when 
the  history  of  the  present  war  has  been  written  we  may 
find  that  this  hymn  has  played  an  important  part  in  the 
religious  experience  of  many  brave  soldiers. 

When  the  great  and  beautiful  Cologne  Cathedral  was 
consecrated  this  hymn  had  an  important  place  in  the 
service.  This  was  in  1880.  When  the  Reichstag  in  Berlin 
was  begun  Emperor  WilUam  laid  the  corner-stone  and  the 
vast  concourse  of  people  sang  "Nun  danket  alle  Gott." 
It  is  today  found  in  every  German  hymn  book  and  has 
been  translated  and  used  in  the  hymn  books  of  those 
worshiping  in  many  other  tongues.  There  are  a  number  of 
English  translations,  that  of  Miss  Winkworth  being  the 
most  popular.  The  hymn  has  found  its  way  into  a  number 
of  hymnals  of  other  churches,  and  is  certain  to  grow  in 
favor  and  use  as  the  years  pass. 


HYMNS  OF  THANKSGIVING  205 

The  author,  Martin  Rinkart,  was  bom  at  Eilenberg, 
Saxony,  April  23,  1586.  When  only  fifteen  years  of  age 
he  became  a  scholar  and  chorister  in  St.  Thomas'  School 
at  Leipsic.  This  made  it  possible  for  him  to  enter  the 
University  of  Leipsic,  where  he  studied  theology.  He 
served  in  several  churches,  one  being  near  Eisleben, 
finally  landing  in  the  to\Mi  of  his  birth,  where  he  died 
December  8,  1649. 

The  greater  part  of  his  public  life  was  passed  during  the 
horrors  of  the  Thirty  Years'  War.  Eilenberg,  where  he 
lived,  suffered  from  pestilence  and  famine.  History  tells 
us  that  the  superintendent  went  aw^ay  and  would  not 
return.  Pastor  Rinkart  in  one  day  officiated  at  the 
funerals  of  two  of  the  resident  pastors  and  two  ministerial 
refugees  who  had  fled  to  Eilenberg  because  it  was  a  walled 
town.  He  was  left  as  the  sole  pastor  in  the  place.  In 
anticipation  of  peace  he  had  reason  to  thank  God.  His 
hymn  is  the  outgrowth  of  his  inner  personal  experience. 
It  is  the  word  lived,  expressed  in  his  hymn.  It  is  because 
it  expresses  the  personal  experience  of  countless  men  and 
women  who  have  true  faith  in  God  that  it  is  such  a  general 
favorite. 

It  is  an  evidence  of  the  beauty  and  character  of  this 
hymn  to  note  that  Mendelssohn  introduces  it  into  his 
"Hymn  of  Praise."  Like  "A  Mighty  Fortress,"  it  has 
its  own  tune.  It  has  been  claimed  that  the  melody  which 
is  credited  to  Johann  Criiger  was  adapted  from  a  melody 
by  a  Roman  choirmaster  by  the  name  of  Marenzo,  but 
more  probably  from  a  motet  by  Rinkart  himself.  There 
is  no  convincing  evidence  for  either  claim.  Whatever  its 
source,  words  and  music  belong  together. 

The  author  of  this  hymn,  it  is  interesting  to  note, 
was  the  author  of  seven  dramas  on  the  Reformation 


2o6  FAVORITE  HYMNS 

period.  The  occasion  for  their  preparation  was  the 
centennial  of  the  Reformation  in  1617.  These  jubilees 
should  not  only  inspire  us  to  use  the  grand  treasures  which 
we  possess;  they  should  call  forth  the  best  in  poetry, 
music  and  service  that  is  in  us. 

A  really  great  hymn  which  deserves  to  be  better 
known  and  more  generally  used  is  Johann  Franck's 
"Herr  Gott  wir  danken  Dir."  Miss  Winkworth's 
translation    begins, 

"Lord  God,  we  worship  Thee! 
In  loud  and  happy  chorus, 
We  praise  Thy  love  and  power, 
Whose  goodness  reigneth  o'er  us." 

This  hymn  is  one  of  several  by  the  same  writer  which 
have  found  their  way  into  the  English  language  and  which 
have  met  with  favor  in  English  worship. 

Another  hymn  which  is  popular  with  our  young  people 
and  usually  sung  at  Harvest  Festivals  comes  from  the  pen 
of  an  Episcopal  clergyman,  the  Rev.  Henry  Alford,  D.  D. 
We  refer  to  the  hymn — 


ii 


Come,  ye  thankful  people,  come, 
Raise  the  song  of  harvest  home!" 


The  author  of  this  hymn  was  a  man  of  great  learning. 
His  greatest  achievement  was  not  in  hymnody,  but  in 
his  Greek  Testament,  upon  which  he  spent  fully  twenty 
years  of  labor.  The  most  popular  of  his  hymns  is  this 
Harvest  Hymn,  which  Christians  of  many  creeds  have 
adopted  and  made  their  own. 


FRANCIS  SCOTT  KEY 


hyjmns  of  thanksgiving  207 

We  must  also  mention  a  hymn  of  Francis  Scott  Key, 
who  is  known  principally  to  Americans  as  the  author 
of  the  patriotic  song,  'The  Star-Spangled  Banner," 
namely, 

"Before  the  Lord  we  bow, 

The  God  who  reigns  above, 
And  rules  the  world  below, 

Boundless  in  power  and  love. 
Our  thanks  we  bring 

In  joy  and  praise, 

Our  hearts  we  raise 
To  heaven's  high  King." 

This  is  truly  a  national  thanksgiving  hymn,  which  prop- 
erly belongs  to  all  Christian  citizens.  It  was  written  in 
1832  and  probably  especially  for  the  Fourth  of  July 
celebration  of  that  year.  It  therefore,  in  origin  and  in 
contents,  blends  the  Christian  and  national  sentiment  into 
such  a  recognition  of  God  as  the  Ruler,  the  Source  of  all 
blessings  and  the  object  of  worship,  as  to  give  it  a  place  of 
honor  in  any  collection  of  hymns  of  thanksgi\dng  and  for 
patriotic  purposes.  In  an  especial  manner  it  should  appeal 
to  Americans  as  a  national  birthday  token  to  American 
independence,  which  recognizes  the  real  and  ultimate  source 
of  all  ci\dl  as  well  as  religious  liberty  to  be  the  Lord  God 
who  reigns  in  the  heavens  and  rules  all  the  nations  of  the 
world. 


PATRIOTIC    HYMNS 


CHE  civil  liberty,  proclaimed  by  the  ringing  of  the 
^^  "Liberty  Bell"  at  Independence  Hall,  Philadelphia, 
jSS^  was  an  echo  of  the  "Hammer  Strokes"  struck  at 
Wittenberg  four  centuries  ago.  "The  Ninety- 
five  Theses"  were  the  bold  declarations  of  spiritual  freedom 
which  prepared  the  way  for  the  declaration  of  American 
independence. 

Naturally,  therefore,  Lutherans,  by  the  very  compulsion 
of  their  religious  liberty  from  the  beginning  of  this  country, 
have  been  American  patriots  of  the  highest  order.  A 
Lutheran  minister  reflected  his  Lutheran  principles  in 
one  of  the  most  dramatic  scenes  of  revolutionary  times 
when  Rev.  Peter  Muhlenberg  left  his  Lutheran  pulpit  at 
Woodstock,  Va.,  threw  aside  his  Lutheran  robe  and  stood 
in  full  uniform  as  a  Continental  colonel,  ready  to  lead  his 
Lutheran  men,  as  one  of  the  heroic  supporters  of  General 
Washington  in  the  great  war  for  American  independence. 
Another  Lutheran  minister,  Frederick  Augustus,  and  a 
brother  of  the  General,  became  a  leader  in  civil  affairs 
and  was  the  first  Speaker  of  the  House  of  Representa- 
tives. A  long  line  of  equally  patriotic  Americans  to  the 
present  day  have  shown  their  true  Lutheranism  in  loyalty 
as  citizens.  Lutherans  in  many  countries,  under  various 
forms  of  government,  true  to  scriptural  principles,  have 
always  been  subject  to  the  powers  that  be  and  have 
cheerfully  shown  their  loyalty  to  the  government  which 
gives  them  their  civil  rights  and  protection. 

208 


PATRIOTIC  HYMNS  209 


We  offer  no  apology,  therefore,  for  Lutherans  loving  and 
using,  as  occasion  offers,  the  patriotic  hymns  which  have 
sprung  from  the  life  of  the  nation.  Without  exception 
these  hymns  have  a  history  of  their  own.  To  know  that 
history  will  help  to  understand  their  inner  meaning  and 
increase  their  value  to  those  who  sing  them.  In  this  spirit 
all  good  evangelical  Christians  will  appropriate  and  use 
the  hymns  which  link  national  patriotism  with  Christian 
faith  and  worship. 

When  we  think  of  patriotic  hymns  that  which  first  comes 
to  out  minds  is  "My  Country,  'Tis  of  Thee,"  the  hymn 
which  by  common  consent  is  called  "Our  National  An- 
them." 

OUR  NATIONAL  ANTHEM 

My  country,  'tis  of  thee, 
Sweet  land  of  liberty, 

Of  thee  I  sing; 
Land  where  my  fathers  died. 
Land  of  the  Pilgrim's  pride. 
From  every  mountain  side 

Let  freedom  ring. 

My  native  country,  thee. 
Land  of  the  noble,  free. 

Thy  name  I  love; 
I  love  thy  rocks  and  rills, 
Thy  woods  and  templed  hills; 
My  heart  with  rapture  thrills 

Like  that  above. 

Let  music  swell  the  breeze. 
And  ring  from  all  the  trees. 

Sweet  freedom's  song; 
Let  mortal  tongues  awake, 
Let  all  that  breathe  partake, 
Let  rocks  their  silence  break. 

The  sound  prolong. 


2IO  FAVORITE  HYMNS 


Our  fathers'  God,  to  Thee, 
Author  of  Hberty, 

To  Thee  we  sing; 
Long  may  our  land  be  bright 
With  freedom's  holy  light; 
Protect  us  by  Thy  might, 

Great  God,  our  King. 

The  author  of  these  words,  the  Rev.  Samuel  Francis 
Smith,  D.  D.,  says  of  their  origin:  'The  song  was  written 
at  Andover  during  my  student  life  there,  I  think  in  the 
winter  of  1 83 1-3  2 .  It  was  first  used  pubHcly  at  a  Sunday- 
school  celebration  of  July  4th,  in  the  Park  Street  Church, 
Boston." 

When  we  consider  the  popularity  of  this  song  and  its 
practically  universal  use,  we  can  appreciate  the  lines  of  a 
classmate  of  Dr.  Smith,  Oliver  Wendell  Holmes,  who 
wTites: 

"And  there's  a  nice  fellow  of  excellent  pith. 
Fate  tried  to  conceal  him  by  naming  him  Smith." 

It  is  most  interesting  to  note  what  Hezekiah  Butter- 
worth,  a  leading  American  hymnological  authority,  says 
concerning  this  hymn  and  the  tune  to  which  we  all  sing  it. 
He  says  it  was  "written  by  Samuel  Francis  Smith  while  a 
theological  student  at  Andover,  February  2, 1832.  He  had 
before  him  several  hymn  and  song  tunes  which  Lowell 
Mason  had  received  from  Germany,  and,  knowing  young 
Smith  to  be  a  good  linguist,  had  sent  to  him  for  transla- 
tion. One  of  the  songs  of  national  character  struck 
Smith  as  adaptable  to  home  use  if  turned  into  American 
words,  and  he  wrote  four  stanzas  of  his  own  to  fit  the  tune. 

"Mason  printed  them  with  the  music,  and  under  his 


SAMUEL  FRANCIS  SMITH 


PATRIOTIC  HYMNS  2il 

magical  management  the  hymn  made  its  debut  on  a  public 
occasion  in  Park  Street  Church,  Boston,  July  4,  1832. 
Its  very  simplicity,  with  its  reverent  spirit  and  easy-flowing 
language,  was  sure  to  catch  the  ear  of  the  multitude  and 
grow  into  familiar  use  with  any  suitable  music;  but  it  was 
the  foreign  tune  that,  under  Mason's  happy  pilotage, 
winged  it  for  the  western  world  and  launched  it  on  its 
long  flight. 

The  history  of  this  tune  is  quite  interesting.  Several 
volumes  have  been  written  to  set  forth  its  cosmopolitan 
character,  as  also  to  prove  it  to  be  a  Gregorian  chant. 
So  far  as  its  use  in  America  is  concerned  its  origin  seems 
reasonably  clear.  William  C.  Woodbridge,  of  Boston, 
brought  a  copy  of  it  with  him  from  Germany.  The  Ger- 
mans had  been  singing  it  for  years  to  the  words,  *'Heil  di 
in  siegel  Kranz."  It  was  by  no  means  their  own  tune 
exclusively.  The  Swiss  also  used  it;  so  did  the  Swedes  and 
the  Russians.  It  has  been  ascribed  to  a  French  composer 
and  has  been  traced  to  an  old  Scotch  carol. 

The  probablity  is  that  certain  bars  of  music  very  similar 
and  possibly  identical,  when  the  plain  song  w^as  the  com- 
mon style,  were  produced  at  different  times  and  places, 
and,  ultimately,  were  merged  into  one  complete  tune. 

Henry  Carey,  an  English  composer  of  the  eighteenth 
century,  is  generally  credited  with  having,  in  1740,  first 
rendered  the  melody  as  we  now  have  it.  The  occasion 
was  a  public  dinner,  given  in  honor  of  Admiral  Vernon, 
after  his  return  from  a  victorous  trip  to  Brazil. 

The  American  use  of  it  is  clear.  Woodbridge  found  it 
in  Germany,  brought  it  to  America,  gave  it  to  Mason,  who 
gave  it  to  Smith,  and  Smith  gave  it,  through  his  most 
beautiful  words,  to  the  American  people  as  their  ''national 
anthem." 


212  FAVORITE  HYMNS 

OUR  NATIONAL  HYMN 

More  purely  religious  and  sung  to  the  same  tune,  that 
which  is  most  frequently  used  in  the  services  of  the  church, 
is  the  following: 

"God  bless  our  native  land! 
Firm  may  she  ever  stand, 

Through  storm  and  night; 
When  the  wild  tempests  rave, 
Ruler  of  wind  and  wave, 
Do  Thou  our  country  save 
By  Thy  great  might! 

"For  her  our  prayer  shall  rise 
To  God  above  the  skies; 

On  Him  we  wait; 
Thou  who  art  ever  nigh, 
Guarding  with  v/atchful  eye, 
To  Thee  aloud  we  cry, 

God  save  the  state!" 

It  is  a  singular  fact  that  this  hymn  has  two  authors. 
Originally  it  was  credited  to  J.  S.  D wight,  but  later  claim 
to  authorship  was  also  made  by  C.  T.  Brooks.  It  is  now 
generally  credited  to  both.  The  fact  seems  to  be  that  both 
these  writers  translated  it  from  the  German.  Several 
similar  translations  are  used  in  England,  but  claim  to 
authorship  is  also  made  by  William  Edward  Hickson. 
His  translation,  however,  varies,  and  is  not  so  good  as  that 
which  is  credited  as  the  American  translation,  but  which 
is  growing  in  favor  and  in  use  in  England. 

There  are  various  stories  as  to  the  authorship  of  the 
music  to  which  these  words  are  sung.  The  melody  itself 
is  stirring  and  the  words  so  in  harmony  with  Christian 
patriotism  as  we  use  them  in  our  American  version  in  our 
churches  that  they  fittingly  form  a  part  of  any  patriotic  or 
national  praise  service. 


PATRIOTIC  HYMNS  213 

THE    STAR-SPANGLED    BANNER 

Oh,  say,  can  you  see  by  the  dawn's  early  light 

What  so  proudly  we  hailed  at  the  twilight's  last  gleaming? 
Whose  broad  stripes  and  bright  stars  through  the  perilous 
fight. 
O'er  the  ramparts  we  watched,  were  so  gallantly  streaming! 
And  the  rocket's  red  glare,  the  bombs  bursting  in  air, 
Gave  proof  through  the  night  that  our  flag  was  still  there; 
Oh,  say,  does  that  star-spangled  banner  yet  wave 
O'er  the  land  of  the  free  and  the  home  of  the  brave? 

On  that  shore  dimly  seen  through  the  mists  of  the  deep, 
Where  the  foe's  haughty  host  in  dread  silence  reposes. 
What  is  that  which  the  breeze,  o'er  the  towering  steep. 

As  it  fitfully  blows,  now  conceals,  now  discloses? 
Now  it  catches  the  gleam  of  the  morning's  first  beam, 
Its  full  glory  reflected  now  shines  on  the  stream; 
'Tis  the  star-spangled  banner;  oh,  long  may  it  wave 
O'er  the  land  of  the  free  and  the  home  of  the  brave! 

Oh,  thus  be  it  ever,  when  freemen  shall  stand 

Between  their  loved  homes,  and  the  war's  desolation! 

Blest  with  \'ictory  and  peace,  may  the  heaven-rescued  land 
Praise  the  power  that  hath  made  and  preserved  us  a  nation. 

Then  conquer  we  must,  for  our  cause  it  is  just; 

And  this  be  our  motto — 'Tn  God  is  our  trust"; 

And  the  star-spangled  banner  in  triumph  shall  wave 

O'er  the  land  of  the  free  and  the  home  of  the  brave! 


Often  and  rightly  called  our  national  anthem  also, 
Francis  Scott  Key's  ''Star-Spangled  Banner"  was  written 
during  the  "War  of  181 2."  It  was  our  last  war  with 
England.  Mr.  Key  had  gone  under  a  flag  of  truce  to  the 
British  flagship  to  secure  the  release  of  a  friend.  The 
flagship  was  at  the  mouth  of  the  Patapsco  River.  As 
the  British  were  preparing  to  attack  Fort  McHenry,  lest 


214 


FAVORITE  HYMNS 


their  plans  should  be  disclosed,  Mr.  Key  was  forbidden 
to  return. 

Being  thus  forced  to  witness  the  attack  on  his  country's 
flag,  he  paced  the  deck  of  the  ship  all  through  the  night 
of  the  bombardment.  As  day  began  to  break  he  saw  the 
flag  still  flying  at  full  mast  over  the  fort,  his  patriotic 
anxiety  was  so  relieved  that  he  exultantly  dashed  off  the 
lines  as  we  now  have  them.  He  wrote  them  with  a  pencil 
on  the  back  of  a  letter.  As  soon  as  he  was  released  he 
took  his  lines  to  the  city,  and  in  a  few  hours  they  were 
printed  on  small  sheets  and  circulated  and  sung  on  the 
streets  to  the  air  of  "Anacreon  in  Heaven."  This  is  the 
tune  to  which  the  ''Star-spangled  Banner"  has  ever  since 
been  sung. 

It  is  interesting  to  note  that  the  original  flag  which  waved 
over  the  fort  and  at  which  Key  looked  as  he  caught  his  in- 
spiration in  the  gray  dawn  of  that  eventful  morning,  was 
made  and  presented  to  the  garrison  by  a  fifteen-year-old 
girl.  She  afterward  became  Mrs.  Sanderson,  of  Balti- 
more.   The  family  still  preserves  this  flag  as  a  relic. 

THE  BATTLE  HYMN  OF  THE  REPUBLIC 

Mine  eyes  have  seen  the  glory  of  the  coming  of  the  Lord; 
He  is  tramping  out  the  vintage  where  the  grapes  of  wrath  are 

stored; 
He  hath  loosed  the  fateful  lightning  of  His  terrible  swift 

sword ; 

His  truth  is  marching  on. 


I  have  seen  Him  in  the  watch-fires  of  a  hundred  circling  camps; 
They  have  builded  Him  an  altar  in  the  evening  dews  and 

damps; 
I  can  read  His  righteous  sentence  by  the  dim  and  flaring 

lamps; 

His  day  is  marching  on. 


PATRIOTIC  HYMNS  215 

I  have  read  a  fiery  gospel,  writ  in  burnished  rows  of  steel; 
''As  ye  deal  with  my  contemners,  so  with  you  my  grace  shall 

deal; 
Let  the  hero,  born  of  woman,  crush  the  serpent  with  his  heel. 
Since  God  is  marching  on." 

He  has  sounded  forth  the  trumpet  that  shall  never  call  retreat; 
He  is  sifting  out  the  hearts  of  men  before  His  judgment-seat; 
Oh,  be  swift,  my  soul,  to  answer  Him!  be  jubilant,  my  feet! 
Our  God  is  marching  on. 

In  the  beauty  of  the  lihes  Christ  was  born  across  the  sea, 
With  a  glory  in  his  bosom  that  transfigures  you  and  me; 
As  He  died  to  make  men  holy,  let  us  die  to  make  men  free, 
While  God  is  marching  on. 

This  hymn,  which  had  its  birth  in  the  stirring  times  of 
the  war  betw^een  the  North  and  the  South,  was  the  product 
of  the  pen  of  a  v.-ell-known  woman,  Julia  Ward  Howe. 
Mrs.  Howe  visited  the  soldiers  camped  on  the  banks  of  the 
Potomac  in  1861.  The  story  is  that  the  trip  fatigued  her 
greatly  and  that  she  slept  very  soundly.  At  daybreak 
she  awoke  and  through  her  mind  there  began  to  run  the 
lines  of  a  hymn  which  promised  to  suit  the  measure  of  the 
John  BrowTi  melody.  The  hymn  was  written  out,  after  a 
fashion,  in  the  dark,  by  Mrs.  Howe,  who  then  again  fell 
asleep. 

The  John  Brown  melody,  which  was  caught  from  a 
religious  melody,  or  "Glory  Hallelujah"  re\dval  hymn,  w^as 
very  popular  with  the  soldiers,  who  had  begun  to  sing  it  at 
Fort  W^arren  in  Boston  harbor,  and  had  made  it  the  march- 
ing chorus  of  the  northern  armies.  Mrs.  Howe,  through 
her  poem,  has  given  to  the  country  in  the  "Battle  Hymn 
of  the  Republic"  a  hymn  which  promises  to  run  till  battle 
hymns  cease  to  be  sung. 


HYMNS  OF  COMFORT 


J^  HE  fact  that  Christians  are  bidden  to  take  up  the 
J^^  cross  and  follow  after  Christ  is  in  itself  an  evidence 
^^  that  the  trials  which  test  faith  are  a  blessing. 
Man  is  born  to  trouble.  No  one  escapes  the  cross. 
Hence  it  is  that  the  hymns  which  comfort  and  cheer  are 
hymns  with  a  universal  appeal. 

The  true  attitude  of  a  child  of  God  in  facing  trial  is 
nowhere  better  expressed  than  it  is  in  that  beautiful 
hymn  so  expressive  of  Christian  faith  and  submission  to 
the  will  of  God  from  the  pen  of  Benjamin  Schmolcke, 
*'Mein  Jesu,  wie  du  willst."  The  hymn  is  based  on  St. 
Mark  14  :  36.  It  is  in  very  wide  use  in  the  German 
churches,  and  has  been  translated  by  various  writers, 
finding  special  favor  in  American  and  English  hymnals. 
A  most  excellent  translation,  which,  however,  omits 
several  of  the  verses  of  the  original,  is  that  by  Miss 
Borthwick. 

MISS  borthwick's  translation  of  schmolcke 's  hymn 

My  Jesus,  as  Thou  wilt! 

0  may  Thy  will  be  mine! 
Into  Thy  hand  of  love 

1  would  my  all  resign. 
Through  sorrow  or  through  joy. 

Conduct  me  as  Thine  own, 
And  help  me  still  to  say, 
My  Lord,  Thy  will  be  done! 
216 


HYMNS  OF  COMFORT  217 

My  Jesus,  as  Thou  wilt! 

If  needy  here  and  poor, 
Give  me  Thy  people's  bread, 

Their  portion  rich  and  sure. 
The  manna  of  Thy  word 

Let  my  soul  feed  upon; 
And  if  all  else  should  fail, 

My  Lord,  Thy  will  be  done! 

My  Jesus,  as  Thou  wilt! 

Though  seen  through  many  a  tear, 
Let  not  my  star  of  hope 

Grow  dim  or  disappear; 
Since  Thou  on  earth  hast  wept 

And  sorrowed  oft  alone, 
If  I  must  weep  with  Thee, 

My  Lord,  Thy  will  be  done! 

My  Jesus,  as  Thou  wilt! 

When  death  itself  draws  nigh, 
To  Thy  dear  wounded  side 

I  would  for  refuge  fly. 
Leaning  on  Thee  to  go 

Where  Thou  before  hast  gone: 
The  rest  as  Thou  shalt  please: 

My  Lord,  Thy  will  be  done! 

My  Jesus,  as  Thou  wilt! 

All  shall  be  well  for  me: 
Each  changing  future  scene 

I  gladly  trust  with  Thee, 
Thus  to  my  home  above 

I  travel  calmly  on. 
Yes,  on  Thee,  my  God,  I  rest, 

Letting  life  float  calmly  on. 

Benjamin  Schmolcke  was  a  Lutheran  pastor  at  Brauchitz- 
dorf  in  Silesia.  He  studied  at  Leipzig,  where  he  supported 
himself  largely  by  the  proceeds  of  occasional  poems  which 
he  wrote  for  wealthy  citizens.     In  addition  to  the  revenue 


2i8  FAVORITE  H\^MNS 

he  thus  secured  he  was  also  honored  for  his  poetry,  being 
crowned  as  a  poet.  Born  in  1672,  he  was  ordained  in 
1 701,  becoming  assistant  to  his  father  in  the  home  church 
at  his  native  place. 

A  little  of  the  history  of  the  times  in  which  Pastor 
Schmolcke  preached  will  help  us  to  appreciate  the  words 
of  "My  Jesus,  as  Thou  wilt."  The  Counter-Reformation 
in  Silesia  resulted  in  the  taking  from  the  Lutherans  of  all 
the  churches  in  the  district  in  which  he  lived.  Through 
the  Peace  of  Westphalia,  in  1648,  Lutherans  were  allowed 
only  one  church  in  the  whole  district,  and  this  church  had 
to  be  built  of  timber  and  clay  and  located  outside  of  the 
walls  of  the  town.  Three  clergymen  were  attached  to  this 
church.  They  had  to  serve  the  people  of  thirty-six 
villages.  They  were  also  greatly  restricted  in  their 
labors.  For  example,  they  could  not  visit  the  sick  and 
give  private  communion  without  first  securing  permission 
from  the  local  Roman  Catholic  priest.  What  comfort 
to  people  under  such  trials  must  Pastor  Schmolcke's 
"Hymn  of  Trust"  have  been! 

A  gem  in  the  crown  of  that  great  German  singer,  Paul 
Gerhardt,  is  one  of  the  most  precious  hymns  for  those  who 
are  in  any  trial.     We  refer  to  his  "Befiehl  du  deine  Wege." 

Wesley's  translation  of  gerhardt's  hymn 

Commit  thoii  all  thy  griefs 

And  ways  into  His  hands, 
To  His  sure  truth  and  tender  care, 

Who  earth  and  heaven  commands: 

Who  points  the  clouds  their  course, 

Whom  winds  and  seas  obey, 
He  shall  direct  thy  wandering  feet, 

He  shall  prepare  thy  way. 


HYMNS  OF  COMFORT  219 

Thou  on  the  Lord  rely, 

So  safe  shalt  thou  go  on; 
Fix  on  His  work  thy  steadfast  eye, 

So  shall  thy  work  be  done. 

No  profit  canst  thou  gain 

By  self-consuming  care; 
To  Him  commend  thy  cause;  His  ear 

Attends  the  softest  prayer. 

Thy  everlasting  Truth, 

Father,  Thy  ceaseless  love, 
Sees  all  Thy  children  s  wants,  and  knows 

What  best  for  each  will  prove. 

And  whatsoe'er  Thou  will'st, 

Thou  dost,  O  King  of  kings! 
What  Thy  unerring  wisdom  chose, 

Thy  power  to  being  brings. 

Thou  everywhere  hast  sway, 

And  all  things  serve  Thy  might; 
Thy  every  act  pure  blessing  is, 

Thy  path  unsulHed  hght. 

When  Thou  arisest.  Lord, 

What  shall  Thy  work  withstand 
When  all  Thy  children  want  Thou  giv'st; 

Who,  who,  shall  stay  Thy  hand? 

An  interesting  note  concerning  this  hymn  is  found  in  a 
German  school  book  called  a  "Short  History  of  the 
Evangelical  Church  hymns,"  published  by  Dr.  Wangemann 
in  1855,  to  the  effect  that  Henr>^  Melchior  ^luhlenberg, 
patriarch  of  the  Lutheran  Church  in  America,  used  Ger- 
hardt's  "Befiehl  du  deine  W^ege"  in  the  service  at  the  laying 
of  the  corner-stone  of  the  first  Lutheran  church  in  Phila- 
delphia, May  2,  1743.  It  is  also  stated  by  the  same 
authority  that  shortly  before  Muhlenberg  drew  his  last 
breath,  October  7,  1787,  he  prayed  the  last  verse  of  this 
same  hymn. 


!20  FAVORITE  HYMNS 


The  original  hymn  is  quite  long.  English  congregations 
do  not  take  kindly  to  the  singing  of  long  hymns.  For 
this  reason  it  is  usually  divided  into  parts  in  English 
hymn  books.  It  is  interesting  to  note  that  this  beautiful 
hymn  of  trust  from  the  pen  of  that  great  and  prolific 
German  Lutheran  bard,  Paul  Gerhardt,  has  come  to  us 
via  the  pen  of  that  great  English  Methodist,  John  Wesley, 
whose  translation  is  the  one  in  general  use. 

A  hymn  of  trust  in  God  which  the  critics  call  "classical 
and  imperishable,"  which  is  only  now  coming  into  its 
own  among  English  worshipers,  is  George  Neumark's 
"Wer  nur  den  lieben  Gott  lasst  walten."  A  poet  of  no 
mean  ability,  and  a  writer  of  many  hymns,  this,  his  finest 
hymn,  was  born  of  a  personal  experience.  It  is  entitled 
a  hymn  of  consolation,  and  expresses  his  faith  in  God 
that  He  will  care  for  and  preserve  His  own  in  His  own  time. 
It  is  the  author's  personal  interpretation  of  the  words  of 
the  psalmist,  "Cast  thy  burden  upon  the  Lord  and  He 
shall  sustain  thee." 

Of  the  hymn  which  was  written  in  December,  1641, 
Neumark,  the  author  himself,  says  that  he  wrote  it  at 
Kiel,  when,  after  unsuccessful  attempts  to  secure  employ- 
ment, he  became  a  tutor  in  the  family  of  the  judge,  Stephan 
Henning.  He  was  so  rejoiced  over  his  good  fortune  that 
he  records  that  on  the  very  day  he  secured  the  position 
he  composed  the  hymn  to  the  honor  of  his  beloved  Lord 
who  had  been  so  very  good  to  him. 

He  had  started  from  his  home  in  Thuringia,  where  he 
had  been  born  March  16,  162 1,  to  travel  with  some  mer- 
chants to  Koenigsberg,  where  he  intended  to  enter  the 
university.  The  party  was  robbed  en  route.  Young 
Neumark  was  left  with  a  very  little  money  sewed  in  his 


HYMNS  OF  COMFORT  221 

clothing  and  his  prayer-book.  He  tried  to  get  employment 
in  JMagdeburg,  Hamburg,  and  a  number  of  other  places, 
and  was  really  in  destitute  circumstances  when,  at  Kiel, 
through  the  influence  of  a  friend,  he  secured  the  position 
as  a  tutor  that  gave  him  his  start  and  eventually  made  it 
possible  for  him  to  secure  the  university  education  which 
he  sought.  It  is  an  illustration  of  that  trusting  faith 
which  looks  to  God  for  guidance  and  gives  encouragement 
to  cast  our  every  care  upon  Him,  for  He  careth  for  us. 

neumark's  hymn  of  trust 

If  thou  but  suffer  God  to  guide  thee, 
And  hope  in  Him  through  all  thy  ways, 

He'll  give  thee  strength,  whate'er  betide  thee, 
And  bear  thee  through  the  evil  days; 

Who  trusts  in  God's  unchanging  love 

Builds  on  the  rock  that  naught  can  move. 

What  can  these  anxious  cares  avail  thee, 
These  never-ceasing  moans  and  sighs? 

What  can  it  help,  if  thou  bewail  thee 
O'er  each  dark  moment  as  it  flies? 

Our  cross  and  trials  do  but  press 

The  heavier  for  our  bitterness. 

Only  be  still  and  wait  His  leisure 

In  cheerful  hope,  with  heart  content 
To  take  whate'er  thy  Father's  pleasure 

And  all  deserving  love  hath  sent; 
Nor  doubt  our  inmost  wants  are  known 
To  Him  who  chose  us  for  His  own. 

All  are  alike  before  the  Highest; 

'Tis  easy  to  our  God,  we  know, 
To  raise  thee  up  though  low  thou  liest, 

To  make  the  rich  man  poor  and  low; 
True  wonders  still  by  Him  are  wrought 
Who  setteth  up  and  brings  to  naught. 


222  FAVORITE  HYMNS 

Sing,  pray,  and  keep  His  ways  unswerving, 

So  do  thine  own  part  faithfully, 
And  trust  His  word,  though  undeserving, 

Thou  yet  shall  find  it  true  for  thee; 
God  never  yet  forsook  at  need 
The  soul  that  trusted  Him  indeed. 

The  translation  which  we  have  furnished  is  by  Miss 
Winkworth,  who  is  one  of  the  most  prolific  of  translators 
of  German  hymns  into  English.  Miss  Winkworth  was 
born  in  London.  She  was  intensely  interested  in  practical 
work  for  women,  and  to  develop  an  interest  in  their  behalf 
translated  and  published  the  "Life  of  Pastor  Fliedner," 
the  founder  of  the  Sisterhood  of  Protestant  Deaconesses, 
at  Kaiserswerth.  While  she  did  a  splendid  work  in  the 
sphere  of  higher  education  for  women,  her  monument  is 
found  in  the  large  contribution  she  has  made  to  the  treas- 
ures of  English  hymnody  by  her  numerous  translations 
of  German  hymns.  Her  translations  are  the  most  widely 
used  of  any,  and  she  has  had  much  to  do  with  the  making 
popular  of  German  hymns  in  the  worship  of  English 
congregations.  In  this  work  she  has  rendered  a  perma- 
nent service  to  the  Christian  church  which  cannot  be 
measured. 

The  aspiration  of  the  Christian,  as  well  as  the  hope  which 
sustains  him  in  the  valley  of  tribulation,  finds  expression  in 
a  beautiful  hymn  by  the  Rev.  Wm.  Augustus  Muhlenberg. 
It  is  a  hymn  which  gives  strength  for  present  trials  by 
pointing  out  the  way  through  trials  and  the  tomb  through 
Christ  to  fellowship  and  eternal  presence  with  the  saints 
of  the  ages  in  the  joys  of  everlasting  fellowship  with  God. 
Muhlenberg,  in  the  stanzas  of  this  hymn,  pictures  the 
life  that  now  is  and  the  magnet  of  the  life  that  is  to  be. 


WILLIAM  AUGUSTUS  MUHLENBERG 


Hl^MNS  OF  COMFORT  223 

"l   WOULD   NOT   LIVE   ALWAY" 

I  would  not  live  alway;  I  ask  not  to  stay- 
Where  storm  after  storm  rises  dark  o'er  the  way; 
The  few  lurid  mornings  that  dawn  on  us  here 
Are  enough  for  life's  woes,  full  enough  for  its  cheer. 

I  would  not  live  alway,  thus  fettered  by  sin; 
Temptations  without,  and  corruption  within; 
E'en  the  rapture  of  pardon  is  mingled  with  fears, 
And  the  cup  of  thanksgiving  with  penitent  tears. 

I  would  not  live  alway;  no,  welcome  the  tomb; 
Since  Jesus  hath  lain  there,  I  dread  not  its  gloom; 
There  sweet  be  my  rest,  till  He  bid  me  arise, 
To  hail  Him  in  triumph  descending  the  skies. 

Who,  who  would  live  alway,  away  from  his  God, 
Away  from  yon  heaven,  that  blissful  abode, 
Where  the  rivers  of  pleasure  flow  o'er  the  bright  plains. 
And  the  noontide  of  glory  eternally  reigns. 

WTiere  the  saints  of  all  ages  in  harmony  meet, 
Their  Saviour  and  brethren,  transported,  to  greet; 
While  the  anthems  of  rapture  unceasingly  roll. 
And  the  smile  of  the  Lord  is  the  feast  of  the  soul? 

This  hymn  had  rather  an  unusual  origin.  A  young 
lady  asked  Dr.  Muhlenberg  to  write  a  verse  in  her  auto- 
graph album.  This  was  in  1824.  He  sat  do"wn  and  dashed 
off  sLx  eight-line  verses,  beginning,  "I  would  not  live  alway." 
The  h>Tnn  as  we  now"  have  it  is  the  same  in  sentiment, 
although  he  rcTNTote  it  a  few  years  later,  and  gave  it  its 
present  perfect  form  when  he  was  asked  to  contribute  a 
h>Tnn  for  publication  in  the  Episcopal  Recorder,  where  it 
was  first  published,  June  3,  1826.  No  credit  was  given  to 
the  author  with  the  original  publication.     It,  however, 


224  FAVORITE  HYMNS 

soon  became  known  who  wrote  it,  and  the  hymn  itself 
found  its  way  quickly  into  a  number  of  the  standard 
American  hymnals. 

The  words  of  this  hymn  have  become  inseparably 
linked  with  the  tune  "Frederick,"  which  was  composed 
and  published  by  Mr.  George  Kingsley  in  1833.  Attempts 
have  been  made  to  give  the  hymn  another  tune,  but 
words  and  melody  so  harmonize  that  the  two  are  likely 
to  continue  to  be  used  together. 

The  author,  a  clergyman  of  the  Protestant  Episcopal 
Church,  was  a  great-grandson  of  the  Patriarch  of  the 
Lutheran  Church,  Henry  Melchior  Muhlenberg.  He  was 
a  grandson  of  the  First  Speaker  of  the  United  States 
House  of  Representatives,  Frederick  Augustus  Muhlen- 
berg. He  was  lost  to  the  Lutheran  Church  through  the 
failure  to  provide  English  services  when  he  was  a  boy. 
He  thus  attended  an  Episcopal  Sunday  school,  and 
eventually  became  an  Episcopal  clergyman.  He  is  known 
chiefly  as  an  eduactor  and  philanthropist.  He  wrote  a 
number  of  hymns.  In  addition  to  the  above,  perhaps  his 
best-known  hymns  are  'Xike  Noah's  weary  dove"  and 
"Saviour,  like  a  Shepherd  lead  us." 


HYMNS    CONCERNING    DEATH    AND    BURIAL 


m 


rm. 


USIC  soothes;  the  message  of  the  hymn  comforts 
and  reaches  the  soul.  Facing  eternity,  with  the 
grave  opening,  many  have  found  in  the  words  of 
some  appropriate  hymn  the  thoughts  which  have 
directed  the  mind,  and  in  the  melody  the  soothing  of  the 
soul.  The  true  Christian  often  will,  as  death  approaches, 
relive  some  of  the  happiest  of  his  Christian  experiences  and 
find  in  them  exactly  that  which  he  needs  to  carry  him 
over  the  breakers  on  the  bar  into  the  depths  of  the  joys  of 
the  eternal,  to  which  his  soul  is  translated.  For  this  very 
reason  messages  which  are  found  in  many  of  the  hymns  of 
the  living  are  the  stay  of  the  soul  when  dying.  An 
incident  will  illustrate.  The  writer  quoted  in  a  Reforma- 
tion address,  some  years  ago,  the  words  of  that  hymn  of 
the  Church: 

**My  Church!  my  Church!  my  dear  old  Church! 
My  fathers'  and  my  own! 

A  lady  in  the  audience  impressed  by  it,  secured  the 
book  containing  it,  learned  it  and  frequently  sang  it. 
When  English  was  introduced  into  her  home  church,  she 
saw  to  it  that  the  book  to  be  used  contained  this  hymn. 
Later,  in  a  long  illness  which  ended  in  her  death,  it  was 
the  means  of  bringing  comfort  and  staying  the  faith  of 
a  patient  sufferer  who  entered  into  life  while  those  at  her 
bedside,  at  her  request,  were  repeating  the  words  from  this 
hymn: 

22$ 


226  FAVORITE  HYMNS 

*'My  Church!  my  Church!  I  love  my  Church! 

For  she  doth  lead  me  on 
To  Zion's  palace  beautiful, 

Where  Christ  the  Lord  hath  gone. 
From  all  below  she  bids  me  go, 

To  Him,  the  Life,  the  Way, 
The  Truth,  to  guide  my  erring  feet 

From  darkness  into  day. 

Thus  many  hymns  of  Christian  experience  are  especially 
helpful  for  the  dying,  and  comforting  to  the  living  who 
mourn.  But  there  are  hymns  which  seem  solely  to  be 
messages  of  comfort  for  those  who  mourn  the  departure  of 
loved  ones.  Among  these  is  one  which  was  penned  by  a 
woman,  Margaret  Mackay,  which  will  be  the  very  first 
to  come  into  the  minds  of  most  people  as  a  hymn  of  this 
class. 

A  woman's  hymn  concerning  death 

Asleep  in  Jesus!  blessed  sleep. 
From  which  none  ever  wakes  to  weep: 
A  calm  and  undisturbed  repose. 
Unbroken  by  the  last  of  foes. 

Asleep  in  Jesus!  oh,  how  sweet 

To  be  for  such  a  slumber  meet; 

With  holy  confidence  to  sing 

That  death  has  lost  his  venomed  sting. 

Asleep  in  Jesus!  peaceful  rest, 
Whose  waking  is  supremely  blest: 
No  fear,  no  woe,  shall  dim  that  hour 
That  manifests  the  Saviour's  power. 

Asleep  in  Jesus!  oh,  for  me 

May  such  a  blissful  refuge  be! 

Securely  shall  my  ashes  lie. 

And  wait  the  summons  from  on  high. 


i 


HYMNS  CONCERNING  DEATH  AND  BURIAL      227 

The  hymn  which  appeared  first  in  ''The  Amethyst; 
or,  Christian  Annual,"  for  1832,  was  occasioned  by  the 
author,  Mrs.  Mackay,  of  Hedgefield,  England,  reading  an 
inscription  on  a  tombstone  in  a  rural  burying-ground  in 
Devonshire.  Later,  in  writing  concerning  her  verses,  the 
writer  says,  the  burying-ground  referred  to  is  that  of 
Pennycross  Chapel.  It  is  a  few  miles  distant  from  a 
busy  seaport,  and  is  reached  by  a  succession  of  lovely 
green  lanes.  The  quiet  aspect  of  the  Pennycross  "God's 
Acre"  comes  soothingly  over  the  mind,  suggesting  at  once 
the  thought  of  ''Sleeping  in  Jesus."  Certainly  the  thought, 
which  is  the  thought  of  Christ  and  strictly  biblical,  is 
beautifully  emphasized  for  the  comforting  of  countless 
mourning  ones,  as  well  as  for  the  staying  of  the  souls  of 
many  as  they  are  about  to  fall  into  that  sleep  which  knows 
no  earthly  awakening. 

Another  beautiful  hymn,  which  is  primarily  a  hymn  for 
Easter  and  is  included  in  various  collections  of  Easter 
hymns,  but  which  is  a  most  comforting  message  for  those 
who  are  in  the  valley  of  the  shadow  of  death,  is  also 
credited  to  the  pen  of  a  w^oman.  It  comes  to  us  from  that 
rich  storehouse  of  hymnology,  the  German.  The  hymn 
was  written  in  1653,  and  mil  have  added  interest  after 
the  story  of  the  author  is  known. 


GERAIAN  woman's   HYMN   OF   DEATH  AJO)  LITE 

Jesus  Christ,  my  sure  defence 

And  my  Saviour,  ever  liveth; 
Knowing  this,  my  confidence 

Rests  upon  the  hope  it  giveth, 
Though  the  night  of  death  be  fraught 
Still  with  many  an  anxious  thought. 


228  FAVORITE  HYMNS 


Jesus,  my  Redeemer,  lives! 

I,  too,  unto  life  must  waken; 
He  will  have  me  where  He  is: 

Shall  my  courage,  then,  be  shaken? 
Shall  I  fear?     Or  could  the  Head 
Rise  and  leave  its  members  dead? 

Nay,  too  closely  am  I  bound 

Unto  Him  by  hope  forever; 
Faith's  strong  hand  the  Rock  hath  found, 

Grasped  it,  and  will  leave  it  never: 
Not  the  ban  of  death  can  part 
From  its  Lord  the  trusting  heart. 

What  now  sickens,  mourns  and  sighs, 
Christ  with  Him  in  glory  bringeth; 

Earthy  is  the  seed  that  dies. 

Heavenly  from  the  grave  it  springeth. 

Natural  is  the  death  we  die, 

Spiritual  our  life  on  high. 

Saviour,  draw  away  our  heart, 

Now  from  pleasures  base  and  hollow, 

Let  us  there  with  Thee  have  part, 
Here  on  earth  Thy  footsteps  follow. 

Fix  our  hearts  beyond  the  skies, 

Whither  we  ourselves  would  rise. 


The  translation  v/hich  we  have  given  was  made  by  Miss 
Winkworth  in  1862,  and  is  one  of  the  many  rich  additions 
to  English  hymnody  which  have  come  from  German  sources 
from  the  facile  pen  of  the  ready  translator  who  dearly 
loved  the  devotional  and  spiritual  hymns  of  the  Germans — 
Miss  Catherine  Winkworth. 

Louise  Henriette,  electress  of  Brandenburg,  to  whom 


HYMNS  CONCERNING  DEATH  AND  BURIAL      229 

this  hymn  is  credited,  was  a  beautiful  character.  She  was 
the  daughter  of  the  Prince  of  Nassau-Orange  of  the 
United  Netherlands,  and  was  born  near  The  Hague, 
November  27,  1627.  She  married  the  Elector  Friederich 
Wilhelm  of  Brandenburg  in  1646.  On  July  11,  1657,  she 
became  the  mother  of  a  son  who  afterward  became  King 
Friederich  I  of  Prussia.  A  woman  of  noble  character,  a 
member  of  the  Reformed  Church,  who  earnestly  desired 
to  cultivate  peace  and  fellowship  with  the  Lutherans,  and 
a  special  friend  of  Paul  Gerhardt,  she  busied  herself  in  the 
work  of  her  husband  and  proved  a  true  mother  to  her 
people.  The  hymn  above,  together  with  a  number  of 
others,  was  published  through  her  efforts  in  a  Union  Hymn 
Book,  by  Christoph  Runge.  To  this  book  she  contributed 
four  hymns.  Runge,  in  his  dedication  of  the  book  to  her, 
says  she  had  ' 'augmented  and  adorned  it  with  your  own 
hymns."  While  some  have  thought  that  these  were 
merely  hymns  which  she  loved  and  which  had  been  placed 
in  the  book  at  her  request,  yet  in  view  of  Runge's  state- 
ment and  the  lack  of  any  evidence  of  other  authorship,  and 
her  own  beautiful  character  and  personal  talents,  this 
hymn,  w^hich  is  given  place  among  the  hymns  of  first  rank, 
promises  to  continue  to  be  recognized  as  the  work  of  the 
devout  electress  of  Brandenburg. 

Paul  Gerhardt  has  given  us  a  beautiful  hymn  of  the 
heavenly  spirit  which  makes  us,  as  pilgrims  and  strangers, 
feel  a  longing  for  the  ''eternal  joys  before."  Written  in 
1666,  and  widely  used  by  Germans,  the  hymn,  as  translated 
by  Jane  Borthwick  in  1858,  has  found  great  favor  with 
English-speaking  Christians.  It  is  used  on  various 
occasions. 


230  FAVORITE  HY:MNS 


gerhardt's  "ich  bin  ein  cast  auf  erden" 

A  pilgrim  and  a  stranger, 

I  journey  here  below; 
Far  distant  is  my  country, 

The  home  to  which  I  go. 

Here  I  must  toil  and  travail. 

Oft  weary  and  opprest, 
But  there  my  God  shall  lead  me 

To  everlasting  rest. 

There  still  my  thoughts  are  dwelling, 

'Tis  there  I  long  to  be: 
Come,  Lord,  and  call  Thy  servant 

To  blessedness  with  Thee! 

Come,  bid  my  toils  be  ended. 

Let  all  my  wanderings  cease; 
Call  from  the  wayside  lodging 

To  the  sweet  home  of  peace! 

There  I  shall  dwell  forever, 

No  more  a  stranger  guest, 
With  all  Thy  blood-bought  children, 

In  everlasting  rest; 

The  pilgrim  toils  forgotten, 

The  pilgrim  conflicts  o'er, 
All  earthy  griefs  behind  us, 

Eternal  joys  before! 

Perhaps  the  chief  hymn  of  the  Latin  Church  is  the 
''Hora  Novissima,"  by  Bernard  of  Cluny.  He  named  it 
^'De  Contemptu  Mundi"  ("Concerning  Disdain  of  the 
World").  Ordinarily  it  is  broken  up  into  three  distinct 
portions  and  treated  as  if  each  part  were  a  distinct  and 
separate  hymn.  The  first  portion  is  expressive  of  the 
contempt  of  this  world.  The  second  portion  is  the  real 
"Laus  Patriae  Coelestis."    Divided,  it  gives  us  the  two 


H\^MNS  CONCERNING  DEATH  AND  B UREAL      231 

hymns  which  are  the  best  legacy  to  Christendom  which 
we  have  from  Bernard  of  Climy.  The  author,  the  son 
of  English  parents,  was  born  at  MorlaLx,  France,  about 
1 100.  He  is  called  Bernard  of  Cluny  because  he  Uved 
and  wTote  in  a  French  town  by  that  name.  The  trans- 
lator, who  has  condensed  the  original  very  gracefully, 
was  Dr.  John  Mason  Neale.  The  most  familiar  and  most 
widely  used  portion  is  "Jerusalem  the  Golden,"  which  has 
its  o'WTi  distinctive  tune,  written  by  Alexander  Ewing,  a 
paymaster  in  the  English  army. 

THE   FAVORITE   PORTION   OF    "hORA  NOVTSSIMA" 

Jerusalem,  the  golden, 

With  milk  and  honey  blest! 
Beneath  thy  contemplation 

Sink  heart  and  voice  opprest: 
I  know  not,  oh,  I  know  not, 

What  social  joys  are  there! 
What  radiancy  of  glor>% 

What  light  beyond  compare! 

And  when  I  fain  would  sing  them 

My  spirit  fails  and  faints, 
And  vainly  would  it  image 

The  assembly  of  the  saints. 
They  stand,  those  halls  of  Zion, 

Conjubilant  with  song, 
And  bright  with  many  an  angel, 

And  all  the  martyr  throng. 

There  is  the  Throne  of  David; 

And  there,  from  care  released, 
The  song  of  them  that  triumph. 

The  shout  of  them  that  feast; 
And  they  who,  with  their  Leader, 

Have  conquered  in  the  fight, 
Forever  and  forever 

Are  clad  in  robes  of  white! 


GENERAL  FAVORITES 


"j^^  HERE  are  several  general  favorites  among  English 
^m^  hymns  which  are  used  by  practically  all  Chris- 
^^  tians.  We  know  the  hymns  so  well  that  we  forget 
the  writers  and  merely  appropriate  and  sing  what 
they  wrote.  We  refer  to  the  hymns — "Jesus,  Lover  of 
My  Soul,"  "Rock  of  Ages,  Cleft  for  Me,"  and  "Nearer  my 
God  to  Thee." 

It  has  been  said  of  the  hymn,  "Jesus,  Lover  of  My  Soul," 
that  it  is  the  masterpiece  of  Charles  Wesley,  and  that  if 
"this  were  the  only  hymn  he  ever  wrote,  and  the  only  ser- 
vice he  ever  rendered  to  humanity,  it  is  sufficient  to  im- 
mortalize his  name." 

A  beautiful  story  is  told  concerning  the  origin  of  this 
hymn.  Mr.  Wesley  was  standing  before  the  open  window 
of  his  room  one  morning.  He  was  looking  out  over  the 
beautiful  landscape  which  was  in  front  of  his  home.  As 
he  looked  he  saw  a  little  song  bird  which  was  being  chased 
by  a  cruel  hawk.  The  poor  bird  was  badly  frightened, 
and  seeing  the  open  window,  flew  through  it  and  directly 
into  Mr.  Wesley's  arms.  With  fluttering  heart  and  quiv- 
ering wing  it  nestled  close  to  the  singer  and  escaped  a 
cruel  death  in  the  talons  of  the  hawk.  According  to  the 
story,  Mr.  Wesley  himself  was  just  then  having  some 
personal  trials  and  was  feeling  the  need  of  a  refuge  just  as 
the  little  bird,  which  had  flown  into  his  bosom  for  protecr 
tion.    Out  of  this  incident,  and  his  personal  experience, 

232 


GENERAL  FAVORITES  233 

he  took  up  his  pen  and  produced  the  masterpiece  of  his 
many  hymns. 

The  hymn  was  first  pubUshed  in  1740,  in  ''Wesley's 
Hymns  and  Sacred  Poems."  It  has  found  its  way  into 
nearly  every  evangelical  hymn  book  of  the  present  day. 
In  its  wide  use  it  is  an  example  of  the  "communion  of 
saints"  which  we  confess  in  the  Creed. 


Wesley's  hymn  which   points  to  christ  as  saviour 

Jesus,  Lover  of  my  soul, 

Let  me  to  Thy  bosom  fly, 
While  the  nearer  waters  roll. 

While  the  tempest  still  is  high! 
Hide  me,  O  my  Saviour,  hide, 

Till  the  storm  of  life  is  past; 
Safe  into  the  haven  guide; 

O  receive  my  soul  at  last! 


Other  refuge  have  I  none; 

Hangs  my  helpless  soul  on  Thee: 
Leave,  ah,  leave  me  not  alone. 

Still  support  and  comfort  me! 
All  my  trust  on  Thee  is  stayed, 

All  my  help  from  Thee  I  bring: 
Cover  my  defenceless  head 

With  the  shadow  of  Thy  wing. 


Thou,  O  Christ,  art  all  I  want; 

More  than  all  in  Thee  I  find: 
Raise  the  fallen,  cheer  the  faint, 

Heal  the  sick,  and  lead  the  blind. 
Just  and  holy  is  Thy  Name; 

I  am  all  unrighteousness: 
False  and  full  of  sin  I  am; 

Thou  art  full  of  truth  and  grace. 


234  FAVORITE  HYMNS 

Plenteous  grace  with  Thee  is  found, 

Grace  to  cover  all  my  sin; 
Let  the  healing  streams  abound; 

Make  and  keep  me  pure  within. 
Thou  of  life  the  Fountain  art, 

Freely  let  me  take  of  Thee: 
Spring  Thou  up  within  my  heart, 

Rise  to  all  eternity. 

An  interesting  incident  is  recorded  concerning  this  hymn 
which  should,  if  that  is  possible,  increase  our  appreciation 
of  it  as  a  hymn  of  faith  and  consolation  in  times  of  tempta- 
tion and  of  trouble.  A  United  Presbyterian  clergyman 
was  serving  under  the  Christian  Commission  during  the 
"War  between  the  States."  His  duties  took  him  out 
on  the  battlefield  after  the  day's  fighting  was  done.  Here 
he  came  across  a  dying  soldier,  and  asked  him  if  he  could 
do  anything  for  him.  He  ministered  to  his  physical 
wants  and  relieved  him  in  every  way  possible.  He  asked 
if  he  could  do  anything  more.  The  dying  soldier  said, 
"Please  sing  to  me  'Jesus,  Lover  of  My  Soul.'  "  Although 
belonging  to  a  Church  that  never  sang  hymns,  he  could 
not  refuse  the  request  of  the  dying  soldier.  Softly  and 
tenderly  he  sang  as  he  never  sang  before,  with  the  thought 
that  his  singing  was  comforting  a  human  soul  in  its  ex- 
tremity. The  account  says:  "As  the  words  floated  out 
in  the  darkness,  where  the  dead  and  the  wounded  lay, 
a  strange  quiet,  like  that  of  a  great  benediction,  fell  upon 
the  earth,  and  the  dying  man  clasped  the  hand  of  the 
singer  with  a  heart  full  of  gratitude.     And  he  sang  on: 

"  'Hide  me,  0  my  Saviour,  hide, 
Till  the  storm  of  life  is  past; 
Safe  into  the  haven  guide; 
O  receive  my  soul  at  last!' " 


GENERAL  FAVORITES  235 

"With  the  closing  strains  there  seemed  to  come  a  sweet 
peace  over  the  dread  battle  plain.  The  soldier  relaxed  his 
grasp;  the  prayer  was  heard." 

The  effect  of  the  singing  on  the  battlefield  that  night 
awakened  this  thought  in  the  heart  of  that  minister — if 
this  hymn  will  do  to  die  by,  it  will  do  to  live  by.  It  was 
in  his  after  ministry  a  chief  source  for  bringing  comfort 
to  dying  souls.  Its  heart  appeal  and  its  implicit  faith 
make  it  a  hymn  which  belongs  to  every  true  child  of  God. 

That  great  German  Lutheran  theologian,  Tholuck, 
once  exclaimed  to  a  class  of  his  students,  "I  have  but  one 
passion.  It  is  He!  It  is  He!"  That  is  the  inner  spirit 
of  this  hymn  from  the  pen  of  Wesley.  This  explains  why 
this  hymn  of  the  Methodist  has  been  adopted  and  found 
such  a  large  place  in  the  hearts  of  the  people  of  all  evan- 
gelical churches. 


THE   REFUGE   OF   THE   SINNER 

In  the  year  of  American  Independence,  the  March 
number  of  The  Gospel  Magazine  contained  a  very  remark- 
able article.  It  was  called,  "A  Remarkable  Calculation: 
Introduced  here  for  the  sake  of  the  spiritual  improvement 
subjoined  Questions  and  Answers  relative  to  the  National 
Debt."  In  this  article,  by  numerical  calculations,  man's 
sins  are  shown  to  be  very  numerous.  By  a  most  ingenious 
calculation,  on  the  basis  of  so  many  sins  per  day,  per  hour 
and  minute,  the  argument  comes  to  a  climax  in  overwhelm- 
ing him  with  his  frightful  helplessness  if  he  were  to  redeem 
himself  from  his  debts.  The  purpose  is  to  show  the  un- 
speakable value  of  Christ's  atonement.  Then  follows  as 
a  "living  and  dying  prayer  for  the  holiest  believer  in  the 
world,"  this  hymn,  which,  because  it  so  well  expresses  the 


236  FAVORITE  HYMNS 

feeling  of  every  true  Christian,  has  found  a  place  not  only 
at  the  close  of  this  unique  article,  but  in  nearly  every 
evangelical  hymn  book  published. 

"rock  of  ages" 

Rock  of  Ages,  cleft  for  me, 

Let  me  hide  myself  in  Thee! 

Let  the  water  and  the  blood, 

From  Thy  riven  side  which  flowed, 

Be  of  sin  the  perfect  cure, 

Save  me,  Lord,  and  make  me  pure. 

Not  the  labors  of  my  hands 
Can  fulfill  Thy  law's  demands: 
Could  my  zeal  no  respite  know, 
Could  my  tears  forever  flow. 
All  for  sin  could  not  atone; 
Thou  must  save,  and  Thou  alone! 

Nothing  in  my  hand  I  bring. 
Simply  to  Thy  cross  I  cling; 
Naked,  come  to  Thee  for  dress; 
Helpless,  look  to  Thee  for  grace; 
Foul,  I  to  the  Fountain  fly; 
Wash  me,  Saviour,  or  I  die! 

While  I  draw  this  fleeting  breath, 
When  my  eyelids  close  in  death. 
When  I  soar  to  worlds  unknown. 
See  Thee  on  Thy  judgment  throne, 
Rock  of  Ages,  cleft  for  me. 
Let  me  hide  myself  in  Thee! 

The  author  was  Augustus  M.  Toplady.  He  was  or- 
dained a  minister  of  the  Church  of  England  when  he  was 
only  twenty-two  years  of  age.  He  died  when  he  was  only 
thirty-eight  years  old.     If  he  had  done  nothing  more  than 


GENERAL  FAVORITES  237 

write  this  one  hymn  his  life  would  have  been  richly  fruit- 
ful and  a  real  blessing  to  the  cause  of  Christianity.  The 
exact  date  of  the  writing  of  the  hymn  is  not  known.  It 
was  first  published  in  its  complete  form,  as  we  now  have 
it  and  use  it,  in  March,  1776. 

A  most  interesting  story  is  told  concerning  its  origin, 
through  which  the  author  and  the  hymn  are  very  closely 
associated  with  Wesley,  the  great  hymn  writer.  Ac- 
cording to  the  story,  Wesley,  the  Methodist,  and  Toplady, 
the  Anglican  churchman,  met  and  were  drawn  into  a  very 
heated  argument  over  some  current  theological  questions. 
They  argued  until  long  after  midnight.  Neither  yielded 
a  point.  When  they  separated  Toplady  was  wrought 
up  to  a  high  state  of  spiritual  excitement. 

Not  being  able  to  sleep,  he  sat  and  thought.  In  a 
moment  of  exultation  the  words  of  this  hymn  began  to 
run  through  his  mind.  He  took  a  piece  of  paper  and  began 
to  write.  Before  dawn  he  had  produced  this  his  master 
hymn  and  the  one  product  of  his  mind  which  will  perpet- 
uate his  name  and  memory  in  the  Evangelical  Church. 

Under  the  thought  of  that  earlier  hymn,  ''Jesus,  Lover 
of  My  Soul,"  and  the  newer,  "Rock  of  Ages,"  even  if 
the  authors  did  engage  in  fruitless  controversy,  there  is  a 
unity  of  faith  which  places  the  hymns  of  the  theological 
contenders  side  by  side  in  nearly  every  evangelical  hymn 
book.  We  have  here  a  fresh  proof  of  the  truth  of  that 
which  we  confess  in  our  Apostles'  Creed,  namely,  "I  believe 
in  the  holy  Christian  Church,  the  communion  of  saints." 

England's  great  premier,  Mr.  Gladstone,  counted  this 
his  favorite  hymn.  He  translated  it  into  both  Greek 
and  Italian.  It  is  said  concerning  his  Italian  trans- 
lation that  on  a  certain  occasion  a  most  bitter  at- 
tack  was  made   on   him   in    the   House  of    Commons. 


238  FAVORITE  HYMNS 

While  his  opponent  spoke  most  bitterly  and  vehemently, 
others  noticed  that  Mr.  Gladstone  was  writing  very 
diligently.  They  supposed  he  was  writing  notes  and 
framing  a  reply.  One  sitting  near  him,  curious  to  learn 
how  he  could  retain  such  a  calm  demeanor  while  being  so 
bitterly  attacked,  looked  over  his  shoulder  and  discovered 
that  he  was  writing  an  Italian  translation  of  Toplady's 
hymn.  As  a  matter  of  interest,  we  quote  the  first  stanza 
of  Mr.  Gladstone's  Italian  translation: 

"Jesus,  pro  me  perforatus, 
Condar,  intra  tuum  latus, 
Tu  per  lympham  profluentum, 
In  peccatti  mi  redunda 
Tulle  culpam,  sordes,  munda! 

A  missionary  who  wished  to  have  this  hymn  translated 
into  the  dialect  of  one  of  the  Hindu  tribes  was  not  so 
fortunate.  He  secured  a  Hindu  scholar,  and  asked  him 
to  translate  it.  The  Oriental  began  his  translation,  which, 
of  course,  was  a  failure,  as  follows: 


'Very  old  stone,  split  for  my  benefit, 
Let  me  get  under  one  of  your  fragments. 


>i 


While  speaking  of  the  missionary  use  of  this  hjnnn,  it  is 
reported  by  one  of  the  missionaries  to  the  suffering  people 
of  Armenia,  that  he  was  deeply  impressed  when  he  heard 
an  Armenian  congregation  singing  ''Rock  of  Ages"  in 
their  language.  The  people  sang  with  tears  in  their  eyes 
and  seemed  to  feel  the  force  of  the  words  to  an  unusual 
degree. 

Another  missionary  story  of  this  hymn  comes  from  the 
royal  palace  of  Queen  Victoria,  and  occurred  during  the 


AUGUSTUS  M.  TOPLADY 


GENERAL  FAVORITES  239 

time  of  the  Golden  Jubilee  of  her  reign.  A  native  of 
Madagascar  presented  himselt  and  delivered  the  greetings 
of  his  people.  He  then  asked  the  privilege  of  singing. 
Naturally  the  court  expected  him  to  sing  one  of  their 
native  songs.  Instead,  however,  the  privilege  being 
granted,  he  sang  in  a  most  touching  manner,  Toplady's 
"Rock  of  Ages."  His  whole  attitude  was  as  if  he  felt  that 
the  truth  of  this  hymn  had  brought  the  blessing  to  his 
life  which  made  him  what  he  was. 

When  we  understand  that  Christ  is  our  Rock;  that  the 
rock  suggests  strength,  solidity,  power,  majesty,  per- 
manency, then  we  find  the  secret  of  the  universal  hold 
which  this  hymn  has  on  the  minds  and  hearts  of  Chris- 
tian people. 

An  ill-fated  steamer  went  down  in  a  turbulent  sea. 
The  passengers  were  clinging  to  life-preservers  and  wreck- 
age. A  young  wife  said  to  her  husband,  "I  can  hold  on 
no  longer."  Her  husband  replied,  "Try  a  little  longer,  and 
let  us  sing,  'Rock  of  Ages.'  "  They  sang,  others  joined  in 
the  singing.  From  amid  the  perilous  waters  rose  this 
sweet,  pleading  prayer: 

"Rock  of  Ages,  cleft  for  me, 
Let  me  hide  myself  in  Thee! 

The  song  inspired  the  singers,  heartened  them  so  that 
they  held  on  till  the  life-savers  from  the  shore  reached 
and  saved  them.  Many  besides  the  husband  and  wife 
owed  their  physical  lives  to  the  sweet  notes  of  Toplady's 
"Rock  of  Ages." 

The  circumstances  of  the  first  publication  of  these 
verses  justify  the  spiritualizing  of  this  incident  from  the 
stormy   sea.    Without   a   doubt   thousands   have   been 


240  FAVORITE  HYMNS 

directed  for  their  salvation  to  the  only  Rock  which  will 
protect  them  from  the  stormy  billows  of  sin  and  tempta- 
tion which  would  otherwise  overwhelm  and  destroy 
them. 

When  we  study  the  meaning  and  get  into  the  heart  of 
the  great  hymns  of  the  Church,  learn  the  motive  for  their 
production  and  the  spirit  in  which  they  have  been  used, 
we  begin  to  realize  the  richness  and  the  blessing  for  true 
worship  found  in  the  hymns  of  the  sanctuary. 

NEARER,   MY   GOD,   TO   THEE 

For  many  years  this  hymn  has  been  a  general  favorite. 
It  rivals  "J^sus,  Lover  of  My  Soul"  and  "Rock  of  Ages" 
for  popularity  among  all  classes  of  people  in  all  parts  of 
the  world.  The  secret  of  its  popularity  lies  in  the  fact 
that  the  hymn  appeals  so  strongly  to  the  human  heart. 

It  is  of  special  interest  to  note  that  the  author  of  this 
hymn,  Mrs.  Sarah  Fuller  Adams,  was  a  Unitarian.  She 
was  the  daughter  of  Benjamin  Flower  and  his  wife,  who  was 
before  their  marriage  Miss  Eliza  Gould.  Mr.  Flower  was 
an  editor,  who  wrote  a  series  of  articles  in  which  he  defended 
the  French  Revolution.  The  House  of  Lords  took  offence 
at  the  articles.  He  was  fined  and  sent  to  Newgate  Prison 
for  six  months.  Miss  Gould,  who  spent  her  time  visiting 
prisoners,  ministering  to  their  temporal  and  spiritual  wel- 
fare, made  his  acquaintance  during  the  time  he  was  in 
prison.  The  acquaintance  ripened  into  love  and  terminated 
in  their  marriage.  They  had  two  daughters,  one  of  whom 
was  the  author  of  "Nearer,  My  God,  to  Thee." 

A  political  offence  thus  became  the  occasion  which 
established  the  home  in  which  was  reared  the  Unitarian 
author  of  a  hymn  of  which  a  leading  hymnologist  has 


GENERAL  FAVORITES  241 

said,  ''It  has  become  a  classic  in  hymnology  and  is  uni- 
versally beloved  and  approved  by  all  branches  of  the 
Church." 

Mrs.  Adams,  who  was  born  at  Great  Harlow,  Essex, 
England,  in  1805,  very  early  in  life  gave  evidence  of  un- 
usual literary  talent,  writing  many  essays  and  poems. 
She  also  displayed  dramatic  talent  and  at  one  time  con- 
templated becoming  an  actress,  but  fortunately  did  not 
carry  out  her  impulse. 

Her  fame  today  rests  on  this  hymn,  which  she  wrote 
after  her  marriage  to  Mr.  William  B.  Adams,  who  was  a 
civil  engineer  and  journalist,  living  in  London.  The 
hymn  was  first  published  by  her  pastor  in  184 1.  It  was 
included  in  a  volume  of  "Hymns  and  Anthems"  to  which 
Mrs.  Adams  contributed  thirteen  poems.  Of  these 
"Nearer,  My  God,  to  Thee"  is  the  only  one  which  re- 
mains in  general  use. 


MRS.    ADAMS'    ^NEARER,    MY   GOD,    TO   THEE" 

Nearer,  my  God,  to  Thee, 

Nearer  to  Thee! 
E'en  though  it  be  a  cross 

That  raiseth  me; 
Still,  all  my  song  shall  be, 
Nearer,  my  God,  to  Thee, 

Nearer  to  Thee! 


Though,  like  a  wanderer, 
The  sun  gone  down. 

Darkness  be  over  me, 
My  rest  a  stone, 

Yet  in  my  dreams  I'd  be 

Nearer,  my  God,  to  Thee, 
Nearer  to  Thee! 


242  FAVORITE  HYMNS 

There  let  my  way  appear 

Steps  unto  heaven; 
All  that  Thou  sendest  me 

In  mercy  given; 
Angels  to  beckon  me 
Nearer,  my  God,  to  Thee, 

Nearer  to  Thee! 

Then  with  my  waking  thoughts 

Bright  with  Thy  praise. 
Out  of  my  stony  griefs 

Bethel  I'll  raise; 
So  by  my  woes  to  be 
Nearer,  my  God,  to  Thee, 

Nearer  to  Thee! 

Or  if  on  Joyful  wing 

Cleaving  the  sky. 
Sun,  moon,  and  stars  forgot, 

Upward  I  fly; 
Still,  all  my  song  shall  be, 
Nearer,  my  God  to  Thee, 

Nearer  to  Thee! 

The  tune  to  which  this  hymn  is  sung  and  which  is  a 
large  factor  in  its  wide  popularity,  is  from  the  pen  of  Dr. 
Mason,  who  was  also  the  composer  of  the  * 'Missionary 
Hymn,"  which  is  inseparably  linked  with  Bishop  Heber's 
great  popular  hymn,  "From  Greenland's  Icy  Mountains." 
The  tune  is  known  by  the  name  ''Bethany." 

At  a  great  jubilee  in  Boston  in  1872  "Nearer,  My  God, 
to  Thee"  was  sung  to  this  tune.  The  singing  was  led  by  a 
group  of  renowned  musical  artists  and  listened  to  by  Dr. 
Mason,  the  author  of  the  music.  This  occurred  a  few 
weeks  before  the  venerable  musician  died.  The  singing 
made  a  profound  impression. 


GENERAL  FAVORITES  243 

There  are  some  most  interesting  stories  told  which 
illustrate  the  universal  familiarity  of  people  with  this 
hymn. 

A  group  of  tourists,  on  a  certain  August  day,  found  the 
top  of  Pike's  Peak  enveloped  in  mist.  For  an  hour  or 
more  they  gathered  around  the  fire  in  the  block-house  to 
keep  warm  and  tried  to  get  acquainted.  After  several 
attempts  to  sing  ''popular  songs,"  which  only  a  few  knew, 
someone  started  to  sing  "Nearer,  My  God  to  Thee." 
All  joined  in  the  singing  and  all  felt  at  home.  As  the 
singing  ended  the  mists  suddenly  rolled  away  and  with 
joy  a  happy  body  of  tourists  rushed  out  to  look  upon  a 
most  wonderful   view. 

Some  travelers  in  Palestine  as  they  journeyed  heard 
snatches  of  the  tune  "Bethany."  Drawing  nearer  to  the 
place  whence  the  sound  came,  they  saw  a  group  of  Syrian 
students  singing  "Nearer,  My  God,  to  Thee"  in  Arabic. 
These  youthful  natives  using  strange  words  but  a  familiar 
tune,  and  singing  with  so  much  feeling,  made  a  deep  im- 
pression on  the  minds  of  those  tourists,  who,  through  the 
singing  in  the  strange  tongue  of  the  well-known  tune,  gave 
a  vocal  realization,  so  to  speak,  of  the  communion  of 
saints. 

Another  tourist  in  the  Holy  Land  tells  of  his  visit  to  the 
site  of  "Jacob's  Ladder."  He  says:  "As  we  stood  there, 
where  heaven  had  once  come  so  near  to  earth,  there  was 
not  one  in  all  our  large  party  who  did  not  share,  in  some 
degree,  in  that  ladder  vision  which  Jacob  had;  and  you 
will  not  be  surprised  to  know  that  we  fell  into  such  a  mood 
that,  without  a  word  of  suggestion,  all  sang  together 
with  deepest  feeling,  'Nearer,  My  God  to  Thee.*  Who 
can  say  that  Jacob's  vision  did  not  become  ours  as  we 
softly  chanted  the  trustful,  prayerful  words?" 


244  FAVORITE  HYMNS 

The  testimony  of  a  prominent  chaplain  during  the 
Spanish-American  War  was  that  in  his  services  as  chaplain 
on  ships  and  in  camps  and  in  the  hospitals  the  men  al- 
ways entered  most  heartily  into  the  singing  of  this  hymn. 
Men  who  were  rough  and  ready,  and  even  profane,  would 
join  with  their  more  religious  comrades  in  the  singing  of 
many  of  the  hymns,  and  especially  when  * 'Nearer,  My 
God,  to  Thee"  was  sung. 

At  the  time  of  the  terrible  Johnstown  flood,  in  1889, 
a  most  pathetic  incident  occurred.  Imprisoned  in  the 
wreckage  of  a  train  there  was  a  woman  missionary  who 
was  en  route  for  the  mission  fields.  She  was  pinioned 
between  seats  and  in  view  of  many  people  who  could 
not  reach  and  save  her  because  of  the  raging  waters,  which 
gradually  rose,  making  certain  her  death.  She  was  seen 
to  pray,  then  she  began  to  sing  "Nearer,  My  God  to  Thee."- 
The  people  listened  breathlessly.  Before  the  last  words 
of  the  hymn  had  been  sung  the  voice  was  stilled.  The 
singer  finished  the  last  notes  beyond  the  skies. 

The  late  King  Edward  of  England  said  of  this  hymn 
that  ''among  serious  hymns  there  is  none  more  touching, 
nor  one  that  goes  more  truly  to  the  heart."  It  was  also 
the  favorite  hymn  of  the  late  President  McKinley.  His 
last  intelligible  words,  spoken  just  before  his  soul  took  its 
flight,  were:  "  'Nearer,  my  God,  to  Thee,  e'en  though  it  be 
a  cross,'  has  been  my  constant  prayer."' 

This  fact  caused  the  use  of  the  hymn  not  only  at  his 
funeral  in  Canton,  Ohio,  but  at  memorial  services  all  over 
this  country  and  at  special  memorial  services  abroad,  espe- 
cially in  Westminster  Abbey,  by  order  of  King  Edward, 
who  listened  devoutly  while  the  whole  notable  assem- 
blage joined  in  the  singing  of  "Nearer,  My  God,  to 
Thee." 


GENERAL  FAVORITES  245 

The  story  comes  from  the  sea  in  the  account  of  the  sink- 
ing of  that  giant  ship,  "The  Titanic,"  that  when  the 
"imsinkable"  ship  was  found  to  be  doomed  the  band  began 
to  play  "Nearer,  My  God,  to  Thee."  They  continued  to 
play  until  there  was  a  deafening  roar.  A  mighty  wave  had 
engulfed  the  great  ship.  The  players  had  gone  to  meet 
their  God. 

Mrs.  Adams  was  a  Unitatian,  and  popular  as  her  hymn 
is,  critical  analysis  of  the  thought  in  it  has  made  many  feel 
that  the  emphasis  is  incorrectly  placed.  For  this  reason, 
at  various  times,  WTiters  have  attempted  to  re\4se  the 
verses. 

In  discussing  a  number  of  hymns  before  a  class  of  theo- 
logical students,  the  Rev.  Dr.  H.  E.  Jacobs,  in  1887, 
pointed  out  the  respects  in  which  Mrs.  Adams'  hymn  was 
not  as  expressive  as  it  should  be.  The  class  showed  in- 
terest, and  the  result  was  the  writing  of  another  h}Tnn, 
which  was  first  published  in  The  Indicator,  of  the  Phila- 
delphia Theological  Seminary  in  January,  1889.  This 
special  version  of  "Nearer,  My  God,  to  Thee"  has  found 
its  way  into  several  h^Tun  books,  notably  the  new  Lutheran 
"Common  Ser\^ce  Book."  It  is  sung,  however,  not  to 
Dr.  Mason's  "Bethany,"  but  to  the  tune  "Kedron," 
by  A.  B.  Spratt.  Just  for  the  purpose  of  comparison  we 
append  this  second  "Nearer,  My  God  to  Thee." 

DR.   JACOBS'   NEARER,   MY   GOD,   TO   THEE 

Nearer,  my  God  to  Thee, 

Nearer  to  Thee! 
Through  Word  and  Sacrament, 

Thou  com'st  to  me. 
Thy  grace  is  ever  near, 
Thy  Spirit  ever  here, 

Drawing  to  Thee. 


246  FAVORITE  HYMNS 

Ages  and  ages  rolled, 
Ere  earth  appeared, 

Yet  Thine  unmeasured  love 
The  way  prepared; 

Long  hast  Thou  yearned  for  me, 

That  I  might  nearer  be, 
Nearer  to  Thee! 

Thy  Son  has  come  to  earth. 

My  sin  to  bear, 
My  every  wound  to  heal, 

My  pain  to  share. 
"God  in  the  flesh"  for  me. 
Brings  me  now  nearer  to  Thee, 

Nearer  to  Thee! 

Lo!  all  my  debt  is  paid, 

My  guilt  is  gone. 
See!  He  has  risen  for  me, 

My  throne  is  won. 
Thanks,  O  my  God,  to  Thee! 
None  now  can  nearer  be, 

Nearer  to  Thee! 

Welcome  then  to  Thy  home. 
Blest  One  in  Three, 

As  Thou  hast  promised,  come! 
Come,  Lord,  to  me! 

Work  Thou,  O  God,  through  me, 

Live  Thou,  O  God,  in  me. 
Ever  in  me! 

Surely  it  matters  not 
What  earth  may  bring. 

Death  is  of  no  account, 
Grace  will  I  sing. 

Nothing  remains  for  me, 

Save  to  be  nearer  Thee, 
Nearer  to  Thee! 


THE    TE    DEUM,    A    GREAT    INTERNATIONAL 

ANTHEM 


CHE  most  famous  h>Tnn  of  the  Church  is  that  great 
hymn  which  is  a  confession  in  song  and  which  has 

gggg  come  do-^Ti  to  us  from  the  fourth  century, 
namely,  the  Te  Deum,  written  by  Ambrose, 
Bishop  of  Milan,  A.  D.  387. 

Tradition  brings  to  us  an  interesting  story  of  the  birth 
of  the  Te  Deum.  According  to  this  tradition  it  was 
composed  on  Easter  Sunday,  the  honor  of  its  composition 
being  divided  in  the  tradition  between  Ambrose  and  his 
eminent  convert,  Augustine. 

According  to  the  story  it  was  the  day  when  the  bishop 
baptized  Augustine  in  the  presence  of  a  vast  congregation 
that  crowded  the  Basilica  of  Milan.  With  a  prophetic 
vision,  realizing  the  eminent  career  which  was  before  the 
candidate  for  baptism  as  one  of  the  ruling  stars  of  Chris- 
tendom, Ambrose  lifted  his  hands  to  heaven  and  chanted 
in  a  holy  rapture — 

"We  praise  Thee,  O  God!    We  acknowledge  Thee  to  be  the 
Lord; 
All  the  earth  doth  worship  Thee,  the  Father  everlasting. 

As  he  paused  from  the  lips  of  the  convert  Augustine 
came  the  response — 

"To  Thee,  all  the  angels  cry  aloud:  the  heavens  and  all  the 
powers  therein. 
To  Thee  cherubim  and  seraphim  continually  do  cry, 
'Holy,  holy,  holy  Lord  God  of  Sabaoth; 
Heaven  and  earth  are  full  of  the  Majesty  of  Thy  glory!' " 

247 


248  FAVORITE  HYMNS 

In  this  manner  the  two  continued  until  stave  by  stave, 
in  alternating  strains  from  the  Hps  of  these  two,  Ambrose 
and  Augustine,  there  sprang  on  that  Easter  Day  from 
the  lips  of  Ambrose  and  Augustine,  the  great  "Te 
Deum,"  the  unquestioned  standard  anthem  of  Christian 
praise. 

Whether  this  is  only  tradition  or  the  actual  story  of  the 
manner  in  which  this  great  hymn  came  into  being  we  do 
not  know.  Excellent  and  reliable  authorities  question  its 
probability.  The  tradition  nevertheless  adds  a  charm  to 
the  prevalent  use  w^hich  brings  out  with  greatest  effect 
both  the  music  and  the  meaning  when  the  hymn  is  sung 
antiphonally. 

Antiphonal  singing  compels  attention  and  participation 
and  adds  beauty  and  impressiveness  to  the  many  chants 
of  the  church.  This  ancient  method  of  singing  is  again 
coming  into  favor  in  an  increasing  number  of  the  churches. 
The  practice  dignifies  w^orship  and  adds  a  charm  to  the 
singing  which  carries  choir  and  congregation  together  to 
the  loftiest  heights  nearest  to  God  which  are  the  privilege 
of  those  who  still  abide  in  the  flesh.  How  thankful  we 
should  be  that  it  is  our  privilege  to  make  use  of  this 
ancient  method  of  chanting  the  praises  of  God. 

Commenting  on  the  traditional  story  of  the  writing  of  the 
Te  Deum,  Hezekiah  Butterworth,  an  eminent  authority, 
says,  ''Whatever  the  foundation  of  the  story,  we  may  at 
least  suppose  the  first  public  singing  of  the  great  chant  to 
have  been  associated  with  the  baptism  of  Augustine." 

We  see  in  this  tradition  and  evidence  of  fact,  new  sig- 
nificance for  the  Te  Deum  as  a  special  anthem  for  Easter 
and  other  Festival  occasions.  The  real  beauty  and  ef- 
fectiveness of  much  that  is  used  in  worship  is  only  fully 
appreciated  when  we  associate  its  use  with  its  origin  and 


THE  TE  DEUM— INTERNATIONAL  ANTHEM      249 

observe  the  times  and  seasons  in  making  words,  melody 
and  occasion  blend  in  complete  harmony. 

The  wide  use  of  the  Te  Deum  is  evidenced  by  the  numer- 
ous translations  into  many  languages,  including  not  only 
English  and  German,  but  also  French,  Russian  and  other 
tongues,  so  that  it  may  be  said  of  the  Te  Deum,  like  it  was 
of  the  Gospel  on  the  Day  of  Pentecost,  that  it  is  heard  by 
men  of  all  nationalities  in  their  own  tongues  in  which  they 
were  born. 

It  is  well  said  of  the  Te  Deum  that  it  is  the  most  Catholic 
of  hymns,  one  of  the  oldest  and  one  of  the  most  univer- 
sally used  by  the  entire  Western  Church.  What  the 
National  hymn  is  to  America  the  Te  Deum  is  to  Chris- 
tendom, a  hymn  known  and  loved  and  used  as  a  great 
confessional  hymn  of  loyalty  by  men  of  all  varying  forms 
of  Christendom. 

The  Te  Deum  was  chanted  at  the  baptism  of  Clovis; 
it  was  sung  at  Queen  Victoria's  great  Jubilee,  as  also  at 
the  coronation  of  Czar  Nicholas  II,  at  Moscow,  Russia. 
Since  the  beginning  of  the  sixth  century  it  has  been  espe- 
cially assigned  as  a  hymn  for  regular  use  in  the  Sunday 
morning  service,  a  distinction  which  is  peculiar  to  this 
hymn  which  is  also  especially  set  apart  as  the  supreme 
expression  of  the  overflowing  gratitude  of  the  human 
heart. 

In  the  Roman  Catholic  Church  the  ritual  expressly 
prescribes  that  the  Te  Deum  must  be  sung  at  the  con- 
secration of  a  bishop,  the  coronation  of  a  king  and  the 
consecration  of  a  virgin,  the  election  of  a  pope,  the  canon- 
ization of  a  saint,  the  publication  of  a  treaty  of  peace  or 
of  an  alliance  in  favour  of  the  church.  These  latter  uses 
indicate  the  manner  in  which  the  Roman  church  intrigues 
in  civil  affairs  at  the  same  time  that  they  reflect  the 


250  FAVORITE  HYMNS 

character  and  value  of  this  great  and  ancient  hymn  of  the 
church. 

Protestant  countries  have  of  their  own  volition,  without 
ecclesiastical  decree  recognized  the  merit  of  this  great 
hymn  by  using  it  in  connection  with  the  coronation  of 
Protestant  rulers,  as  also  as  a  song  of  thanksgiving  on  the 
occasion  of  great  victories,  such,  for  example,  as  Agincourt 
and  Waterloo.  The  fact  that  the  lofty  expressions  of 
praise  and  thanksgiving  of  the  Te  Deum,  used  in  national 
festivals  as  the  full-hearted  expression  of  a  nation's  trust 
and  faith  and  gratitude  in  so  many  instances  and  on  so 
many  occasions,  is  striking  proof  of  the  communion  of 
saints,  as  it  is  so  beautifully  linked  with  our  confession  of 
faith  in  the  church  itself  in  the  language  of  the  Apostles' 
Creed. 

The  use  of  such  a  hymn  on  every  occasion  is  not  proper. 
It  is  travesty  on  praise  and  faith  to  use  it  as  a  sort  of 
Christian  war-whoop  over  fallen  foes,  as  Napoleon  used 
it  when  he  came  fresh  from  the  massacres  of  the  Bouevards, 
and  as  it  was  chanted  at  Rome  in  honor  of  the  massacre  of 
St.  Bartholomew.  This  incident  suggests  the  words  of 
the  ancient  heathen  poet — 

"Unholy  is  the  sound 
Of  loud  thanksgiving  over  slaughtered  men." 

May  it  never  again  be  sung  because  of  triumphs  of 
armies  on  fields  of  blood;  but  instead  may  the  whole  world 
sing  this  international  anthem  of  thanksgiving  to  God  for 
His  influence  in  making  the  nations  of  the  world  to  be  at 
peace  and  to  have  the  principle  of  Divine  Love  emphasized 
in  a  universal  brotherhood  which  will  overcome  all  inter- 
national  hatreds   and   make   war   impossible.    What   a 


THE  TE  DEUM— INTERNATIONAL  ANTHEM       251 

Te  Deum  would  this  be  echoing  around  the  world  and 
mingling  the  voices  of  millions  in  thousands  of  tongues 
singing  the  International  Anthem  of  praise  in  a  chorus  so 
large  and  loud  as  to  echo  and  re-echo  through  all  heaven. 
What  a  Te  Deum,  the  climax  of  song  which  has  blended 
in  one  through  ages  the  voice  of  prayer  and  praise  from  the 
lips  of  believing  men  and  women,  and  sent  it  ringing 
through  the  arches  of  the  temples  of  men  on  earth  and 
re-echoing  through  the  heaven  of  heavens  as  the  mighty 
sound  of  sweetest  harmony  to  the  ear  of  a  listening  God. 

"the  te  deum  laudamus" 

We  praise  Thee,  O  God:  we  acknowledge  Thee  to  be  the 
Lord. 

All  the  earth  doth  worship  Thee:  the  Father  everlasting. 

To  Thee  all  Angels  cry  aloud:  the  heavens,  and  all  the 
powers  therein. 

To  Thee  Cherubim  and  Seraphim:  continually  do  cry, 

Holy,  Holy,  Holy:  Lord  God  of  Sabaoth; 

Heaven  and  earth  are  full  of  the  Majesty:  of  Thy  Glory. 

The  glorious  company  of  the  Apostles:  praise  Thee. 

The  goodly  fellowship  of  the  Prophets:  praise  Thee. 

The  noble  army  of  Martyrs:  praise  Thee. 

The  holy  Church  throughout  all  the  world:  doth  acknowl- 
edge Thee; 

The  Father:  of  an  infinite  Majesty; 

Thine  adorable,  true:  and  only  Son; 

Also  the  Holy  Ghost:  the  Comforter. 

Thou  art  the  King  of  Glory:  O  Christ. 

Thou  art  the  everlasting  Son:  of  the  Father. 

When  Thou  tookest  upon  Thee  to  deHver  man:  Thou  didst 
humble  Thyself  to  be  born  of  a  Virgin. 

When  Thou  hadst  overcome  the  sharpness  of  death: 
Thou  didst  open  the  kingdom  of  heaven  to  all  believers. 

Thou  sittest  at  the  right  hand  of  God:  in  the  glory  of  the 
Father. 

We  believe  that  Thou  shalt  come:  to  be  our  Judge. 


252  FAVORITE  HYMNS 

We  therefore  pray  Thee,  help  Thy  servants:  whom  Thou 
hast  redeemed  with  Thy  precious  blood. 

Make  them  to  be  numbered  with  Thy  saints:  in  glory  ever- 
lasting. 

O  Lord,  save  Thy  people:  and  bless  Thine  heritage. 

Govern  them:  and  hft  them  up  for  ever. 

Day  by  day:  we  magnify  Thee. 

And  we  worship  Thy  Name:  ever,  world  without  end. 

Vouchsafe,  O  Lord:  to  keep  us  this  day  without  sin. 

O  Lord,  have  mercy  upon  us:  have  mercy  upon  us. 

O  Lord,  let  Thy  mercy  be  upon  us:  as  our  trust  is  in  Thee. 

O  Lord, in  Thee  have  I  trusted:  let  me  never  be  confounded. 
Amen. 


The  hymns  which  we  sing  are  a  most  important  element 
in  worship,  the  use  of  which  is  one  of  the  blessed  fruits 
of  the  evangelical  principles  of  worship  which  have  come 
to  us  as  one  of  the  results  of  the  great  Reformation  of 
the  sixteenth  century.  Samuel  Taylor  Coleridge  says, 
"Luther  did  as  much  for  the  Reformation  by  his  hymns  as 
by  his  translation  of  the  Bible."  Of  course,  the  hymns  of 
the  church  cannot  take  the  place  of  the  Word  of  God, 
but  they  stand  only  second  to  it.  Indeed,  through  them 
some  of  the  most  precious  truths  of  the  Scriptures  are 
sung  into  the  hearts  and  the  lives  of  Christian  people. 
If  our  readers  will  have  learned  to  sing  the  hymns  of  the 
Church  with  more  thought  as  to  their  contents;  to  select 
those  w^hich  they  use  with  greater  regard  to  their  meaning 
and  association,  and  wath  a  fuller  realization  of  their  power 
to  lift  the  soul  up  to  God  and  to  impress  upon  heart, 
mind  and  soul  the  blessing  of  God  which  rests  upon  those 
who  worship  Him  in  sincerity  and  truth,  our  labor  of  love 
in  writing  of  some  of  the  great  favorites  among  the  hymns 
of  the  church  will  have  its  reward  in  the  more  intelligent 
and  effective  use  of  hymns,  whether  it  be  in  public  or  in 
private  worship. 


INDEX 


I 


J.) 


253 


INDEX  OF  FIRST  LINES 


PAGE 

Abide  with  me!  fast  falls  the  eventide i66 

A  charge  to  keep  I  have i44 

A  deep  and  holy  awe 171 

A  few  more  years  shall  roll 40 

A  hymn  of  glory  let  us  sing 108 

Alas!  and  did  my  Saviour  bleed 64 

All  glory  be  to  God  on  high 131 

All  glory,  praise,  and  honor 76 

All  hail  the  power  of  Jesus'  name! 81 

A  Mighty  Fortress  is  our  God 180 

Angels  from  the  realms  of  glory 22 

Another  year  is  dawning 39 

A  pilgrim  and  a  stranger 230 

Asleep  in  Jesus!  blessed  sleep 226 

As  with  gladness  men  of  old 44 

Awake,  my  soul,  and  with  the  sun 154 

Away  in  a  manger,  no  crib  for  His  bed 28 

Before  the  Lord  we  bow 207 

Blessed  be  the  Lord  God  of  Israel:  for  He  hath  visited  and  re- 
deemed His  people 18 

Brief  life  is  here  our  portion 41 

Brightest  and  best  of  the  sons  of  the  morning 46 

Calm  on  the  listening  ear  of  night 31 

Christ  Jesus  lay  in  Death's  strong  bands 89 

Christ  the  Lord  is  risen  again 91 

Christ  the  Lord  is  risen  today 90,  94 

Come,  Holy  Ghost,  in  love 122 

Come,  Holy  Ghost,  our  souls  inspire 123 

Come,  Holy  Spirit,  God  and  Lord ! 114 

Come,  Holy  Spirit,  heavenly  Dove 66 

Come,  let  us  anew  our  journey  pursue 42 

Come,  my  soul,  thou  must  be  waking 151 

Come,  O  come,  Thou  quickening  Spirit 118 

Come,  Thou  almighty  King 128 

Come,  ye  thankful  people,  come 206 

Commit  thou  all  thy  griefs 218 

Conquering  Prince  and  Lord  of  glory 105 


256  INDEX  OF  FIRST  LINES 


PAGE 


Draw  us  to  Thee,  Lord  Jesus no 

Fear  not,  O  little  flock,  the  foe, 193 

From  Greenland's  icy  mountains 49 

Glorious  things  of  Thee  are  spoken 187 

Glory  be  to  God  on  high 20 

Glory  be  to  Jesus 71 

God  bless  our  native  land! 212 

God  of  mercy!  God  of  grace! 59 

Good  news  from  heaven  the  angels  bring 27 

Go  to  dark  Gethsemane 70 

Great  God!  we  sing  that  mighty  Hand 37 

Guide  me,  O  Thou  great  Jehovah 138 

Hail,  Father,  Son  and  Holy  Ghost 131 

Hail,  holy,  holy,  holy  Lord! 83,  130 

Hail  the  day  that  sees  Him  rise 112 

Hail,  Thou  once  despised  Jesus! 66 

Hark !  the  herald-angels  sing 24 

Hark!  what  m.ean  those  holy  voices? 25 

He  leadeth  me!  O  blessed  thought! 140 

Here  behold  me,  as  I  cast  me 169 

Holy  Father,  hear  my  cry 133 

Holy,  holy,  holy  Lord 133 

Holy,  Holy,  Holy!  Lord  God  Almighty!. 126 

How  sweet  the  name  of  Jesus  sounds 34 

I  am  Jesus'  little  lamb 100 

If  thou  but  suffer  God  to  guide  thee 221 

I  gave  My  life  for  thee 148 

I  love  Thy  Zion,  Lord 190 

In  the  Cross  of  Christ  I  glory 74 

It  came  upon  the  midnight  clear 30 

I  think,  when  I  read  that  sweet  story  of  old loi 

I  would  not  live  alway;  I  ask  not  to  stay 223 

Jerusalem,  the  golden 231 

Jesus  Christ,  my  sure  defence 227 

Jesus,  Hail!  enthroned  in  glory 68 

Jesus,  Lover  of  my  soul 233 

Jesus!  Name  of  wondrous  love ! 35 

Jesus,  pro  me  perforatus 238 

Jesus  shall  reign  where'er  the  sun S3>  66 

Jesus,  still  lead  on 13S 

Jesus,  Sun  of  Righteousness 152 

Jesus,  Thy  Blood  and  Righteousness ij7 

Joy  to  the  world,  the  Lord  is  come! 66 

Just  as  I  am,  without  one  plea 62 


INDEX  OF  FIRST  LINES  257 

PAGE 

Lead  us,  heavenly  Father,  lead  us 127 

Light  of  the  Gentile  nations 46 

Lord  God,  we  worship  Thee 206 

Lord,  keep  us  steadfast  in  Thy  word 176 

Lord,  now  lettest  Thou  Thy  servant  depart  in  peace 21 

May  the  grace  of  Christ  our  Saviour 133 

Mine  eyes  have  seen  the  glory  of  the  coming  of  the  Lord 214 

My  Church!  my  Church!  my  dear  old  Church! 225 

My  country,  'tis  of  thee 209 

My  faith  looks  up  to  Thee 1 74 

My  Jesus,  as  Thou  wilt! 216 

My  soul  doth  magnify  the  Lord :  and  my  spirit  hath  rejoiced  in 

God  my  Saviour 16 

Nearer,  my  God,  to  Thee 241,  245 

Now  hushed  are  woods  and  waters 164 

Now  pray  we  all  God,  the  Comforter 117 

Now  thank  we  all  our  God 202 

O  God  of  Jacob,  by  whose  hand 38 

Oh,  enter,  Lord,  Thy  temple 120 

Oh,  help  us.  Lord !  each  hour  of  need 78 

O  Holy  Spirit,  enter  in 120 

O  how  shall  I  receive  Thee? 9 

O  Uttle  town  of  Bethlehem 29 

One  sweetly  solemn  thought 41,  143 

On  Jordan's  banks  the  herald's  cry 12 

Onward,  Christian  soldiers 200 

O  sacred  Head,  now  wounded 68 

Oh,  say,  can  you  see  by  the  dawn's  early  light! 213 

O  Thou,  who  through  this  holy  week 80 

Our  God,  our  Help  in  ages  past 36 

Out  of  the  depths  I  cry  to  Thee 58 

O  where  are  kings  and  empires  now? 192 

Paschal  Lamb  by  God  appointed 68 

Rejoice,  all  ye  believers 14 

Ride  on,  ride  on  in  majesty! 77 

Rock  of  Ages,  cleft  for  me 236 

Saviour,  breathe  an  evening  blessing 168 

Saviour,  like  a  shepherd  lead  us 99 

Saviour,  sprinkle  many  nations .^ 56 

Saviour,  teach  me  day  by  day .' 91 

See  the  Conqueror  mounts  in  triumph 109 

Shepherd  of  tender  youth 102 

Show  pity,  Lord;  O  Lord !  forgive 60 


258  INDEX  OF  FIRST  LINES 

PAGE 

Silent  night!  Holy  night! 32 

Sion,  the  marvellous  story  be  telling 26 

Softly  now  the  light  of  day 159 

Songs  of  thankfulness  and  praise 45 

Sun  of  my  soul,  Thou  Saviour  dear 160 

Take  my  life  and  let  it  be.^ 147 

The  Church's  one  foundation 189 

The  day  of  Resurrection! 96 

The  Lord  my  Shepherd  is 98 

The  morning  bright 156 

There  is  no  name  so  sweet  on  earth 35 

The  Son  of  God  goes  forth  to  war 52 

The  strife  is  o'er,  the  battle  done! 85 

Thou  Judge  of  quick  and  dead 12 

Thou,  whose  almighty  word 54 

Very  old  stone,  split  for  my  benefit 238 

We  give  Thee  but  Thine  own 146 

Welcome,  happy  morning!  age  to  age  shall  say 87 

We  praise  Thee,  O  God !  We  acknowledge  Thee  to  be  the  Lord .  247,  251 

When  His  salvation  bringing 79 

When  in  the  hour  of  utmost  need 197 

When  I  survey  the  wondrous  Cross 65 

While  shepherds  watched  their  flocks  by  night 23 

WTiile  with  ceaseless  course  the  sun 42 

Ye  servants  of  the  Lord 145 

Zion  stands  with  hills  surrounded 191 


INDEX  OF  PERSONS 


Adams,  Sarah  F 8i,  240 

Adams,  Wm.  B 241 

Adolphus,  Gustavus 193 

Alexander,  James  W 69 

Alfonso,  St 72 

Alford,  Rev.  Henry 206 

Altenberg,  Johann  Michael .  .  .194 
Ambrose,  Bishop  of  Milan, 

124,  247 

Asaph,  Dean  of 50 

Augustine 247 

Bacon,  Leonard  Woolsey 182 

Baring-Gould,  Rev.  S 199 

Bede,  Venerable 107 

Benson,  Louis  F 139 

Bernard,  St.,  of  Clairvaux .  .  34, 69 
Bernard,  St.,  of  Cluny.  . .  .40,  230 

Bernard  of  Italy 77 

Bethune,  Geo.  W 35 

Blakewell,  John 67 

Bonar,  Horatius, 40, 132 

Borthwick,  Miss  Jane, 

13,  153,  216,  229 

Bowring,  Sir.  John 73 

Brandenburg,  Elector  Freder- 
ick Wilhelm  of 229 

Brandenburg,    Louise    Henri- 
etta, electress  of 228 

Brooks,  C.  T 212 

Brooks,  Phillips 28 

Bugenhagen,  Johann 198 

Bunsen,  Baron 164 

Butterworth,  Hezekiah, 

123,210,  248 

Camerarius,  Joachim, 198 

Canitz,von,  Friedrich  Rudolph, 

ISO 


Carey,  Henry 211 

Carey,  Phoebe 41, 141 

Caswell,  E 73 

Cawood,  John 25 

Chandler,  John 12 

Charlemagne 77,  124 

Charles  II  of  England 154 

Charles  V.  of  Germany 198 

Charles,  Mrs.  Elizabeth  Run- 
die _ 15 

Clement  of  Alexandria 103 

Clovis 249 

Coflin,  Charles 12 

Colenso,  Bishop 188 

Coleridge,  Samuel  Taylor 252 

Con  well,  Russell  H 142 

Cox,  Bishop  A.  Cleveland. 55,  192 

Cox,  Frances  Elizabeth 165 

Cranmer,  Archbishop 86 

Crueger,  Johann 205 

Damascus,  John 95 

Decius,  Nikolaus 131 

Dix,  Wm.  Chatterton 43 

Doane,  Bishop  George  W 159 

Doddridge,  Philip 36, 145 

Duffield,S.W 31,80 

D wight,  J.  S 212 

Dwight,  Timothy 190 

Dyke,  John  B 127, 140 

Eber,  Dr.  Paul 197, 198 

Edmeston,  James, 128,  167 

Edward,  King  of  England ....  244 
Ekkehard,  Monk  of  St.  Gall.  .124 

Ekman,  Conrad  Oscar 196 

Ellerton,  John 86 

Elliott,  Charlotte 61 

Ewing,  Alexander 231 


259 


26o 


INDEX  OF  PERSONS 


Faber,  F.  W 73 

Fabricius,  Jacob 194 

Fliedner,  Pastor 222 

Flower,  Mr 240 

Fortunatus,  Venatius 86 

Franck,  Johann 46,  206 

Frederick  the  Great 204,  229 

Funcke,  Friederich no 

Gellert,  Christian  F 93 

George,    King   of   South   Sea 

Islands 53 

Gerhardt,  Paul, 

10,  69,  120,  164,  218,  229 

Gihnore,  J.  H 140 

Gladstone,  Wm.  E 237 

Gould,  Rev.  S.  Baring 199 

Gray,  Bishop 188 

Gregory  the  Great 1 24 

Gruber,  Franz SS 

Guizot,  M 106 

Gwyne,  Nell 155 

Handel,  George  Friederich, 

94, 190 
Havergal,  Frances  Ridley .  38,  147 
Hayn,  Henrietta  Louise  von .  .  99 
Heber,  Bishop, 

45,  49,  52,  126,  134,  242 

Heinrich,  Karl 116 

Held,  Heinrich 117 

Henning,  Stephan 220 

Hesse,  Landgrave  of 115 

Hickson,  William  Edward .  .  .  .212 

Hill,  Rowland 191 

Holden,  Oliver 82 

Homes,  Oliver  Wendell 210 

How,  Wm.  Walsham 34, 146 

Howe,  Julia  Ward 215 

Jacobs,  Henry  E 245 

Julian,  John 57 

Kayser,  Leonidas 115 

Keble,  John 160 

Kelley,  Thomas.  •. 191 

Ken,  Bishop 80, 153 

Key,  Francis  Scott 206,  213 

King,  Joshua 79 


Kingsley,  George 224 

Klug,  J..  . 177 

Knorr,  Christian   Baron  von 

R 153 

Koestlin,  Theodore 181 

Laurenti,  Laurentius 13 

Leeson,  Miss  Jane 91 

Lewis,  Charles  G 184 

Livingstone,  Alfred 38 

Louis,  Emperor 77 

Luke,  Jemima  Thompson loi 

Luther,  Martin... 27,  28,  57,  88 

114,  116,  158,  176,  181,  203,  252 

Lyte,  Rev.  Henry  Francis.  .  .165 

Macaulay,  Thomas 155 

Mackay,  Margaret 226 

Madan,  Rev.  Spencer 129 

Marenzo,  L 205 

Marriott,  John 54 

Mary,  the  Virgin 15 

Mason,  Lowell. 51,  173,  210,  242 

Massie,  Richard 89 

Melanchthon,  Philip.  .  .  .  182, 198 
Mendelssohn  Bartholdi,  Felix, 

23,  25,  132,  205 

Milman,  Henry  Hart 78 

Mohr,  Joseph 31 

Montgomery,  James 22,71 

Muhlenberg,   Hon.   Frederick 

Augustus 208,  224 

Muhlenberg,  Henry  Melchior, 

26,  219,  224 

Muhlenberg,  Gen.  Peter 208 

Muhlenberg,  Wm.  Augustus, 

26,  222 
Munzer,  Thomas 115 

McDougall,  Bishop 93 

McKinley,  William 244 

Napolean  Bonaparte 250 

Neale,  John  Mason, 

40,  79,  8s,  95,  231 

Neander,  Joachim 169 

Neumark,  George 220 

Newman,  Cardinal 139 

Newton,  John.  . .  34,  41,  '^33, 187 


INDEX  OF  PERSONS 


261 


Nicholas  II,  Czar 249 

Nitschmann,  David 183 

Notker  of  St.  Gall 90, 124 

Nottage,  G.  S.,  Lord  Mayor..   93 

Orton,  J 145 

Palmer,  Rev.  Ray 121, 173 

Perronet,  Edward 81 

Perthes,  Frederick 116 

Pick,  Dr.  Bernard 183 

Pott,  Rev.  Francis 85 

Prague,  Jerome  of 86 

Rinkart,  Martin 198,  203 

Robert,  the  Devout 123 

Runge,  Christopher 229 

Sanderson,  INIrs 214 

Saunders,  Frederick 195 

Schaeffer,  Charles  W 117 

Schaff,  Phillip i3>  69 

Schiller,  von,  J.  C.  F 165 

Schmolcke,  Benjamin 216 

Scott,  Rev.  E.  P 82 

Scott,  Sir  Walter 50 

Searles,  Edwin  H 30 

Shiple)',  dean  of  St.  Asaph ....   50 

Sigibert,  King  of  Austrasia 86 

Simeon,  the  Prophet 21 

Sleidan,  Johann 182 

Smith,  Rev.  Samuel  Francis.  .  210 

Spener,  Philip  Jacob 171, 196 

Stead,  William  T 98, 140, 182 

Stone,  Samuel  J 188 

Sullivan,  Sir  Arthur  Seymour.  .199 
Summers,  Rev.  Thos.  0 156 

Tate,  Nahum 22 

Taylor,  John 59 


Tersteegen,  Gerhard 104 

Theodulph  of  Orleans 77 

Tholuck,  Friedrich  A.  G 235 

Thring,  Godfrey 157 

Toplady,  Augustus  M 236 

Vensen,  Hans 117 

Vernon,  Admiral 211 

Victoria,  Queen 238,  249 

Wackernagel,  C.  E.  P 120 

Wallenstein,  General 194 

Walther,  John 116, 182 

W^angemann,  Dr 219 

V/arton,  Joseph 177 

Watts,  Isaac.  .  .35,  52,  59,  64,  98 

Webbe,  Samuel 41 

Weisse,  Michael 92 

Wesley,  Charles.  .  .  .13,  23,42,93, 
95,  III,  129,  130,  144,  232,  237 

Wesley,  John 137,  218,  220 

Whitfield,  G 129 

William,  Emperor  of  Germany  204 

William  III,  of  England 155 

Williams,  Aaron 190 

Williams,  Rev.  Peter 138 

Williams,  Rev.  V\'illiam 138 

Wink  worth,  Catherine.  .  .93,  104, 

116,   120,   179,   197,   204,   206, 

222,  228 

Wisdom.e,  R.  S 177 

Woodbridge,  Wm.  C 211 

Wordsworth,  Christopher, 

44,  109,  133 

Zacharias,  the  High  Priest ....  17 
Ziegenbalg,  Bartholomew.  .  .  .116 
Zinsendorf,  Count. . .  .92, 135, 136 


